Celebrating Dance

Bombay – Sep. 22 – Oct 06, 1990

The last day of August was an emotion-charged one for Bharatanatyam Guru Rajee Narayan. For she was celebrating the silver jubilee of her Nritya Geethanjali Dance Academy, with a special show at the Nehru Centre Auditorium. Every student of hers – even the tiniest little greenhorn – got to be on stage at some point during the evening, as also some old students.

Students of Nritya Geethanjali performing at the Silver jubilee function of their institute. Seen in picture are Jaishree Rao, Saraswathy Lapsia, late Srilata Konduri, Shanti Parsuram, Mala Murli & Bhavani Krishnakumar.

Many of the items performed had been composed by the guru herself, and two such pieces, a tillana and a composition on the Krishna theme, were particularly memorable. Also, the guru took centrestage herself halfway through the show, to pay a prolonged, gracefully articulated vote of thanks to all the people who had helped her build her career – from the family that rented her a place to stay in when she first arrived here as a young widow with a little child, to all the parents of her students.

Sept 22 – Oct 6, 1990. Bombay

Nritya Geethanjali: dedicated and disciplined

Free Press Journal – Sept. 05, 1990

Sulochana Rajendran traces the development of ‘Nritya Geethanjali’, an institution of dance and music which celebrated its silver jubilee recently.

Nritya Geethanjali, an institution of dance and music has made long strides and carved a niche for itself in the cultural map of this metropolis. To its founder-director, Guru Smt. Rajee Narayan it was not an easy march ahead. The ‘fighter-achiever’ that she is, well equipped in technique and trends of arts and with a zest for facelifts and innovations coupled with imagination and intelligence, Rajee persevered and succeeded in her pursuits, adding to her role while at the same time she strengthened the institution in various aspects of the performing art.

The silver jubilee of Nritya Geethanjali celebrated on August 29 at the Nehru Centre, would speak volumes of the toil and truimph of the Guru who is not merely a revered teacher but an affectionate ‘aunty’ to the multitude of her students. The spirit of dedication and discipline, the eclat of participation that she has instilled into her students were evident from the smooth and orderly flow of the celebrations. Everything was fine tuned, even the tiny tots with eager anticipation were gracefully quiet, not letting out even a whisper! And on the stage we had a cameo of dances, a variety of presentations, some purely traditional adhering to classical tenets, a few action songs by beginners, a couple of mini ballet by seniors, a Nama Kirtan reminiscing the bhajana tradition and a tight kit Tillana plus a ‘Pinnal Kolattam’ that is something more than a mere folk pastime – all these from the family heirloom.

All this speaks for the artistic family that Rajee hails from and her own achievements as a composer, besides being a musician, dancer, dance guru, choreographer and conductor all rolled into one. Right from her infancy she has been exposed to the world of art. She was born into a house of Iyal-Isai-Natakam (Literature, music, dance-drama). Her parents, sisters and brothers – eleven of them – were all talented and displayed it in one field or the other. More than this they pursued their chosen fields. Little wonder that the youngest of them, Rajee turned more versatile having been showered with blessings and knowledge from the elders in her family.

Availing of the opportunities as well as of intense training under teachers of eminence, Rajee emerged as a performer – teacher; and adding her own imagination and creative impulse she has taken her dream come true ‘Nritya Geethanjali’ to its 25th milestone.

That Rajee’s work, ‘Nritya Geetha Mala’ is a cherished treasure goes without saying. It contains guidelines not only to Nattuvangam but to choreography too with notes and notations in three languages. There is a Tala variety, Nayika variations, invocatory shaityas and intricate pure dance numbers like Jatiswaram and Tillana. The Varnams leave a colourful aura both in scope of sancharis and stances of rhythm. It is also a musicians pleasure as mere musical rendering evokes the bhava fused in its lyrics and musical setting. A few of them presented at the silver Jubilee Fete deserve mention.

“Paripaalayamam Sri Sambho Mahadeva” in soothing strains of Suddha Dhanyasi had the right blend of Tandava and Lasya, which uphold the concept of Ardhanareeswara.

“Velane Mukkannan Aruliya Baalane” (Ragamalika) was an apt choice for a mini ballet both in solo and multi character presentation. Made into a costume ballet, it captured the attention of many in the audience who were not familiar with the southern story line. Typical of the northern scenario was Krishna leela, depicting the eternal love of Radha and Krishna not before entangling them in a lovers’ tiff. While Radha’s agony, anger and final surrender were all familiar Nayika presentation Krishna’s viraha, pining for Radha was imaginatively touched upon and finely etched. The whole musical setting in Hindustani melodies not only revealed environmental perceptivity but also clothed the lyrics in Hindi. Special mention must be made of the renderings by the vocalists with the Guru leading, more particularly Rajee’s niece Neeraja who stood for her voice blend.

The specially composed Tillana a ‘Raga-Tala-Gatimalika’ much in line with Balamuralikrishna’s creations, had its own novelty, attraction and was performed with alacrity.

Presided over by Nana Chudasama, that champion of Service organisations, the programme was an eye filling event.

Sept. 05, 1990. Free Press Journal

A guru in two disciplines

Indian Express – Aug. 28, 1990

Rajee Narayan is perhaps the only guru who’s equally at ease with both music and dance. She’s been teaching both at her Nritya Geethanjali Academy in Bombay for the past 25 years. Kinnari profiles this unique combination of talents.

Nritya Geethanjali, a music and dance academy in this metropolis, turns 25 on 29 August. A colourful feast for the eyes awaits the Bombay rasikas.

Rajee Narayan’s story might seem like a fairy tale but it is very much a saga of sweat and tears. It is the story of one born and cradled amidst a musical environment and exposed to art even as a child to emerge an outstanding artiste-teacher-choreographer-conductor and composer, all rolled into one, keeping with the times and trends and yet not compromising on the traditional values of art.

Nritya Geethajali, for a Bombayite presents the rare academy of music and dance under one roof and one teacher. It has to its credit a Nattuvangam training course and a publication of dance margams, Nritya Geetha Mala, that has proved to be more than a handbook and guide in the practical enunciations, choreography, etc. to students and teachers of this art form. Besides quite some numbers of commemorative dance presentations dedicated to doyen-composers plus dance-dramas such as Uthukkadu Ganamritham, Bharati Paamaalai, Gejje Uilivu, Shiva Leela and Krishna Leela choreographed to Marathi lyrics come to one’s mind, not to speak of the mini classical-folk blend ballets like Parijatham and Kolattam Jotrai.

Born the last of eleven children to Narayan Iyer and Gangammal, Rajee was brought up on fine arts even before she could learn the alphabets. Her home could be called a living art emporium – sisters Neela, specialising in Bharatanatyam and Sulochana, in music, brothers in dramatics and dance, father a lyricist-poet producing his own drama with an all family cast and mother, though an orthodox housewife was a musician in her own right, singing for Harikatha of Cuddapah Lakshmi Ammal, a well-known figure in the cultural renaissance.

Skipping the basic lessons little Rajee straightway started with keertaas from her mother and the dance numbers from sister. Those were the days when “dancers were few and opportunities many” to quote her. “Children from respectable families were actually drawn into the art form and invited to perform at weddings and social functions, the sabhas being very few then”, she says.

With all the training at home and encouragement from without, she cut her first disc at four singing Muthiah Bhagavathar’s “Ikanataala jaalanuraa” (Hari-kambhoji) and “Neraminchi” (Shankarabharanam), a Garbhapuri composition. She also had opportunities to dance, especially for War fund campaigns. Her intensive coaching in music took off in her teens, from her sister Sulochana Mahadevan and later Turaiyur Rajagopala Sarma and in dance from sister Neela Balasubramaniam and Smt. Lalitha of Saraswati Gana Nilayam. Rajee had a stint of learning the piano as well for a couple of years and Western dance while a student of Church Park Convent, Madras.

Though her stay in Madurai in the Fifties was short due to the untimely death of her husband, Rajee received, many laurels on the concert platform. Her association then with the erudite composer Ambujam Krishna stimulated the composer in her and probably sowed the seeds of her Nritya Geeta mala.

In between attending to an ailing husband, she also managed her music concerts both classical and light classical. Playback singing and AIR broadcasts were also included. But after her husband’s death music became her very life. Only the priorities shifted from concerts to classes, to which she added the teaching of dance as well.

There is no specific bani (school) one can attribute Rajee’s dance to. “I follow mostly Tanjavur style that Lalitha taught me though I cannot do away with Pandanallur stances which had got into my blood stream having learnt my early lessons from my sister Neela”, says Rajee. “And I am not averse to other styles as I was exposed to Oriental dances which were the rage when I came on the scene. I do occasionally borrow stances from them for my costume plays and make slight concessions in choreographing bhajans in classical format.”

What brought her to distant Bombay?? “Certainly not any fascinations as such, but for my son’s future and for having an institution of my own, my dream for long,” says Rajee. Though offers came her way in Madras, too, especially from the industrial house of TVS, she did not want to set up an additional institution parallel to that of her sister’s or her guru’s. The need for a school of dance and music under one roof and the necessity for a livelihood for her made Bombay her new home. “But earning a livelihood”, she hastens to add, “has not deviated me from my convictions and principles.” On no account was she prepared to compromise on her art. An instance is the Nattuvangam course; true she teaches the students the basics right from the alphabets and trains them to wield the cymbals but not before an exacting test and a hundred per cent perfect score in that. For, in rhythm there can be no relative grading, either it is right on the dot or it is not.

The release of Nritya Geetha Mala in 1985 has sure been a milestone in the career of Rajee Narayan, for there is no composite song book that is almost a ‘dance in print’. What inspired her into this venture? “Two factors impelled me into the venture.” Rajee observes. “First, my own thirst for choreographing new songs, ones which had not been handled earlier. My attempts were well received and my efforts appreciated by gurus and critics and I took courage to widen my horizon composing songs varnams in rare talas, based on traditional themes but with my ideas. Second, the need of the day, especially for the new entrants who had got into the teaching line without being fully equipped for it and who sought my advice for songs, books and guidance. It was not for me to decide whether they were fit to be teachers or not. I felt like helping them.” And thus was born Nritya Geetha Mala with 25 songs in Tamil, English and Devanagari scripts with meaning, notation, tala counts, Jati variations, solkattu korvais, etc.

Hailed both by dancers and dance teachers, the book fulfills the musical requirements and applies to visualising technique, too. “The music and lyrics had the approbation of Sangita Kalanidhi K. S. Narayanaswamy who had advised me to use certain ragas and Kalaimamani T. K. Mahalingam Pillai spontaneously did abhinaya when I sang a few pieces for him and this is more than a blessing to me.” says Guru Rajee Narayan who has just entered her sixtieth year.

The real blessing is a guru like Rajee Narayan, an anachronism in this age.

28th August, 1990. Indian Express

Impressive Folk Fare

Indian Express – June 16, 1990

The folk dance recital of Kolatta Jothrai presented under the direction of Guru Rajee Narayan on Tuesday was a brave effort at reviving the Kolattam group of Tamil dances.

Traditionally, the Kolatta Jothrai festival is associated with the October/November harvesting season in Kartika. After sowing paddy, millet and red gram the women sing and dance for the next few days. The womenfolk dance kummis, kolattams and the pinal kolattam during the festival.

Rajee Narayan and her troupe remained true to the traditions in presentation, starting off with the pashu kolattam – a form of the kolattam dedicated to Kamadhenu the celestial cow of plenty. This dance with sticks was followed by a charitram kummi, abhinaya kolattam, a kummi with jatis (like Bharatanatyam), kuditta mar kolattam, with the pinals bringing up the rear.

Of the items in view, the pinal kolattams (pinals) were the best performed. Inspite of the intricacies of the braiding in this dance, which must be accompanied by rhythmic dancing with the kols (sticks), the girls displayed clarity and flawless rhythm. However, there was poor synchronisation in the payinda kolattam, which was the third item of the evening.

Inspite of their training in Bharat Natyam, the kummi with jatis showed some uncertainty in the classical movements.

An innovation of the kolattam, the Abhinaya kolattam combined small passages of abhinaya (classical expressive dancing) alternating with the kolattam stretches. The abhinaya part was very lively. Besides, the kolattams that traced tradition kolam-inspired linear patterns – varimara and kuditta mar – showed the kind of harmony in movement which is the hallmark of folk dance form.

Rina Mukherji
June 16, 1990. Indian Express

Dancing Disability Away

Bombay – Feb. 22 – Mar. 06, 1990

A group of bright-faced, colourfully dressed young girls comes on stage and does a perfectly coordinated Bharatanatyam piece. The grace of movement and facility with facial expression of the girls cannot be faulted; especially since none of them have had any previous classical dance training whatsoever. The girls glide off stage, more children do various folk dances on the celebration of rural festivals. The dancers’ rhythm and synchronisation rarely falter – or at least, no more than normal.

But by now, the viewer has realised that something about this performance is a trifle different from most others. For one thing, two girls in bright Kanjeevaram saris are standing discreetly, but noticeably at each corner at the front of the stage, facing the dancers. Using signs to indicate the various movements, they are marking the beat with their fingers. When the karagam and kummi dancers come on stage, one sees that most of the children have large, heavy callipers binding their little legs. One realises that all the children are handicapped, in one way or another. They are performing a dance ballet, Sankara, at the Nehru Centre Auditorium, under the auspices of the Indian Society for the Rehabilitation of the Handicapped (ISRH), a voluntary support organisation that aids handicapped individuals and organisations that work for them.

Of course, a production of this sort, however effortless it may appear at the end, means a lot of hard work. The storyline and the script, were ready by July and tells the tale of Adi Sankara. Little Sankara, who belongs to an orthodox Brahmin family is saved from drowning by the untouchable Adi. When Sankara (played by Raju) is disturbed at being touched by Adi (Abhijit), his mother (Meera) consoles him with stories from the past that demonstrates the meaninglessness of the caste system. After July, Guru Rajee Narayan took over. Choreographing done, the guru and four of her senior students, Deepa and Vidya Narayan, Kesari Rao and Mala Subrahmaniam (who also provides female voiceovers), took on the painstaking job of training the children. The result is unique not only in that it is rare for so many categories of the handicapped to perform together, but that it isn’t often that care is taken to extract such a thoroughly professional effort.

And professional the performers clearly are. After one has got over the initial heartbreak of watching little ones fling their callipered legs up in joyous, rhythmic abandon, the fact of the performers’ disabilities becomes irrelevant. What remains is the grace, the involvement and sincerity, the real depth of feeling that the children put into the performance. And their presence of mind could cause many veteran performers envy. One little boy whose new special shoes skidded on the freshly polished stage, flinging him flat on the floor, got up quickly without a change of expression and continued dancing vigorously. Their awarness of their own handicaps makes them very sensitive to those of others too, the organisers have noticed. In the Ramayana production when a blind Sita falling at Rama’s feet, landed slightly off-position, the deaf-mute Rama slid imperceptibly along the stage till he was directly in front of her.

The opportunity to work with and even help others has brought many of the participants out of their own cocoons of bitterness or self-pity. They have learnt to relate to and trust society at large. Meena Bhat, a sufferer of Down’s Syndrome who does brilliant rendering of a rich, unfeeling zamindar in Sankara, used to be “such an introvert, so uncommunicative” earlier, Narayan remembers. Now she is tremendously self-assured.

The production, which has cost about Rs. 1.5 lakh so far, may be repeated in a couple of months; potential sponsors have even offered to help take it on the road. And for the 30 to 50 individuals participating in this, and other similar productions, as well as for those training them, or viewing them, life is perhaps a little more meaningful afterwards.

Feb 22 – Mar 06, 1990. Bombay

With Love and Sympathy

The Times of India – Feb. 10, 1990

A group of bright-faced, colourfully dressed young girls comes on stage and does a perfectly coordinated Bharatanatyam piece. The grace of movement and facility with facial expression of the girls cannot be faulted; especially since none of them have had any previous classical dance training whatsoever. The girls glide off stage, more children do various folk dances on the celebration of rural festivals. The dancers’ rhythm and synchronisation rarely falter – or at least, no more than normal.

But by now, the viewer has realised that something about this performance is a trifle different from most others. For one thing, two girls in bright Kanjeevaram saris are standing discreetly, but noticeably at each corner at the front of the stage, facing the dancers. Using signs to indicate the various movements, they are marking the beat with their fingers. When the karagam and kummi dancers come on stage, one sees that most of the children have large, heavy callipers binding their little legs. One realises that all the children are handicapped, in one way or another. They are performing a dance ballet, Sankara, at the Nehru Centre Auditorium, under the auspices of the Indian Society for the Rehabilitation of the Handicapped (ISRH), a voluntary support organisation that aids handicapped individuals and organisations that work for them.

Of course, a production of this sort, however effortless it may appear at the end, means a lot of hard work. The storyline and the script, were ready by July and tells the tale of Adi Sankara. Little Sankara, who belongs to an orthodox Brahmin family is saved from drowning by the untouchable Adi. When Sankara (played by Raju) is disturbed at being touched by Adi (Abhijit), his mother (Meera) consoles him with stories from the past that demonstrates the meaninglessness of the caste system. After July, Guru Rajee Narayan took over. Choreographing done, the guru and four of her senior students, Deepa and Vidya Narayan, Kesari Rao and Mala Subrahmaniam (who also provides female voiceovers), took on the painstaking job of training the children. The result is unique not only in that it is rare for so many categories of the handicapped to perform together, but that it isn’t often that care is taken to extract such a thoroughly professional effort.

And professional the performers clearly are. After one has got over the initial heartbreak of watching little ones fling their callipered legs up in joyous, rhythmic abandon, the fact of the performers’ disabilities becomes irrelevant. What remains is the grace, the involvement and sincerity, the real depth of feeling that the children put into the performance. And their presence of mind could cause many veteran performers envy. One little boy whose new special shoes skidded on the freshly polished stage, flinging him flat on the floor, got up quickly without a change of expression and continued dancing vigorously. Their awarness of their own handicaps makes them very sensitive to those of others too, the organisers have noticed. In the Ramayana production when a blind Sita falling at Rama’s feet, landed slightly off-position, the deaf-mute Rama slid imperceptibly along the stage till he was directly in front of her.

The opportunity to work with and even help others has brought many of the participants out of their own cocoons of bitterness or self-pity. They have learnt to relate to and trust society at large. Meena Bhat, a sufferer of Down’s Syndrome who does brilliant rendering of a rich, unfeeling zamindar in Sankara, used to be “such an introvert, so uncommunicative” earlier, Narayan remembers. Now she is tremendously self-assured.

The production, which has cost about Rs. 1.5 lakh so far, may be repeated in a couple of months; potential sponsors have even offered to help take it on the road. And for the 30 to 50 individuals participating in this, and other similar productions, as well as for those training them, or viewing them, life is perhaps a little more meaningful afterwards.

Feb 22 – Mar 06, 1990. Bombay

A journey through dance and music

Link – Jan. 15, 1989

In Bombay, Rajee Narayan set up a school of dance called Geethanjali, where about a hundred students learn dance and music under her. Rajee has written the “Nritya Geeta Mala”, a collection of her compositions. She includes an account of a jouney through dance with the help of music.

Although Rajee Narayan’s music and dance are not often heard or seen these days, she is an important figure in Carnatic music and Bharatanatyam. She has carved a unique niche for herself in the history of Bharatanatyam by her untiring efforts at reforming this dance form. Hailing from a family of musicians, Rajee Narayan learnt music from her mother who was the first Indian woman to have broadcast Indian songs in the BBC. She had attracted attention even as a child artiste and continued to learn Carnatic music under Sulochana Mahadevan, her sister, and T. M. Rajagopala Sharma. The rigorous training she received moulded and shaped her voice. She has a vast repertory of compositions under her belt, and has perfected the Ragam Tanam Pallavi. She builds up each raga slowly and with great intensity of feeling. Rajee’s knowledge of the theoretical and practical aspects of raga, tala and swara is the result of continuous life-long effort.

From music Rajee Narayan turned to dance. She received intensive training in Bharatanatyam under K Lalitha of the Saraswati Gana Nilayam, Madras and emerged as a dancer of repute.

“What induced you to change from music to dancing”.

“There was no change as such because we were learning both. My sisters and I learned both dance and music. It is true that one of my sisters (Sulochana) liked music and another (Neela Balasubramanyam) opted for dance. I do believe now that my music and dance have reinforced each other”.

Rajee gave her arangetram in dance when she was nine and in music when she was 14. After that she has given numerous concerts throughout South India. It is interesting to note that most of her dance performances were at military camps during World War II.

Through all this recognition, Rajee Narayan has remained simple and unassuming, neither indulging in false modesty nor in vain boasts. After her marriage in the early 1950s, she settled down in Madurai. Rajee’s roles as a teacher came after the sudden demise of her husband Narayan. She migrated to Bombay in 1960, where she pursued her interests with diligence.

In Bombay, she set up a school of dance called Geethanjali, where about a hundred students learn dance and music under her.

She feels gratified that she has been made a member of The Board of Studies for Dance and Faculty of Fine Arts in Bombay University.

Rajee has written the “Nritya Geeta Mala”, a collection of her compositions. She includes an account of a journey through dance with the help of music. Her book is available in three languages – Tamil, Devanagari and English – and contains 25 songs for Bharatanatyam with notation reinforced by solkattu sequences. The book should be of great help to Bharatanatyam dancers.

Rajee Narayan is grateful to her gurus and God for all that she has achieved. All her efforts have been preserving these rich art traditions.

Ravindra Misra
January 15, 1989.

Good technical command

The Indian Post – Dec. 28, 1988

A dancer-singer provided much enjoyment in her vocal recital, attended by Ganapati Ramakrishnan.

RAJEE NARAYAN is both dancer and singer. In dance she is now mainly a teacher while in music she continues to perform. Her musical training under Sulochana Mahadevan and Turaiyur Rajagopala Sarma has given her a good command over the technique and nuance of singing. Her voice production is of good quality and timbre.

As a dancer she invests her singing with the appropriate mood and feeling. The slight lack of melody in her voice is more than compensated for by the tonal vigour and variety.

Early in the concert there was the Hamsadwani song Varada Vinayaka. This unknown kriti made a good impact. Paramapurusha in Lalitapanchamam was in a fast tempo and breezy. For Sriranjani, Rajee Narayan gave a good alapana prelude, well decorated with multi-octave phrases. The song Darijupi was her own composition.

Parakuni in Keeranavali was sung without any alapana as a short and sweet mini item. Her alapana for Kedaragowla was full of emotional sweep and depth. The Papanasam Sivan song Swamikkusari was a sincere and involved effort.

The major item of the concert was the Purandaradasa song Nambikettavaru in Kalyani. Rajee Narayan’s alapana was a long and leisurely essay. The structure and beauty of the song emerged unmistakably.

On the violin B. Jayashankar produced good and at times powerful sound. His control over bowing was clearly evident. In the Kedaragowla alapana, he played a few memorable phrases. Jayashankar is one of the few fine violinists in Bombay. Mridangist P. R. Chandran provided good suppport.

As a dancer Rajee Narayan should have sung dance items only. It would have been a concert with a difference. “There is great beauty and power in dance compositions. During dance performances, the viewer’s attention is divided between dance and music. That is why it is important to hear dance music in a concert form. NCPA is the ideal forum for such concerts.

Dec. 28, 1988. The Indian Post, Bombay

Melody and Mime

Free Press Journal – Dec. 27, 1988

Rajee Narayan, Director, Nritya Geethajali, was featured in a vocal recital by NCPA at its Little Theatre last Friday. As one who has been frequently appearing at the ‘wings’ conducting and singing for dance performances, her vocal recitals have become few and far between. But that did not affect her musical impulses and vocal susceptibiities.

In a two-and-a-quarter hour performance she tried to pack as many songs as possible giving glimpses of her performing zest, composing skill and musical erudition. Of the many numbers she rendered, the Sriranjani alapana and her own composition, “Dari Joopi”, Kalyani and Purandaradasa’s “Nambikettavarillavo” and Kanada Ragam Pallavi (Tisra Ata) in major-delineation impressed better.

Accompanying with confidence was B. Jayashankar whose violin play had some sweet toned phraseology. His alapana efforts and swara sallies were imaginative. P. R. Chandran’s was a ‘pucca’ percussion support to the artiste.

Sulochana Rajendran
Dec. 27, 1988. Free Press Journal