“No artist is ahead of his time. He is his time. It’s just that the others are behind his time.”
Music and dance are a medium not as rigid as drama, theatre or movies and hence can survive amongst varieties of audiences and instil certain emotions and sentiments in them as the language barrier does not hold a tight control over them. The visual appeal and display through all four abhinayas- Angika, Vachika, Aharya and Sattvika help create entire scenes weaving through time, history, relationships etc as they are accompanied with movement, semantics, and melody. This is achieved in dance through thoughtful compositions that are created keeping in mind the mood of characters, the choice of raga for that mood, the rhythm that would align itself perfectly with the said sentiment and the right choice of words- either self-made or taken from the granthas, scriptures and other such texts. In the history of Bharatanatyam, many Gurus effectively created many new margams, bearing in mind the changing needs, demands, acceptability and performance diktats that evolved in the dance presentations over a period of time.
Two names stand out distinctly – Padmashree Guru K N Dandayudapanipillai and Guru K J Govindarajan. I not only compare Guru K J Govindarajan with Guru K N Dandayudapanipillai out of a personal connection, i.e., receiving training directly from the niece and disciple of the latter, but also because the compositions of both Gurus inspire me to choreograph and perform, despite my not being fluent in the language of their choice (Tamil). Such is the power or magnetism of their melodies and rhythms that they rouse and stimulate the creativity of dancers and teachers to desire to create something artistic in terms of emotional complexity as well as musical tempos.
As I investigated deeper into the lives of Guru K N Dandayudapanipillai and Guru K J Govindarajan, a striking pattern began to emerge – not just in their artistic output, but in the very fabric of their personal journeys. It was as if destiny had woven parallel threads through their lives, binding them with uncanny similarities. Both hailed from culturally rich families that nurtured their artistic inclinations from a young age. Their educational paths, though distinct in detail, were rooted in a deep reverence for classical tradition and a hunger to innovate within it. What truly captivated me was their shared intention: not merely to perform, but to elevate Bharatanatyam into a vessel of storytelling that could transcend time, language, and geography.
Their passion was not performative – it was devotional. Every composition, every rhythmic phrase, every choreographic choice seemed to echo a commitment to authenticity and emotional truth. And in their creations, one finds not just technique, but soul. Despite the generational gap, their artistic philosophies seem to converse with one another, as if they were kindred spirits separated by time but united by purpose. It is this resonance that continues to inspire dancers like me – not just to replicate, but to reimagine, to feel, and to create.
Below is a step-by-step look into the resemblance of their lives and how they finally turned from performers to gurus to choreographers and finally composers:
1.Belonging traditionally to a lineage of traditional artistes:
Both Guru K N Dandayudapanipillai and Guru K J Govindarajan hailed from the Isai Vellalar community – a lineage deeply rooted in the preservation and propagation of South Indian classical arts. The term Isai Vellalar itself translates to “cultivators of music,” and that’s precisely what this community has done for centuries: nurtured, refined, and passed down the rich traditions of Carnatic music and Bharatanatyam with unwavering devotion.
Historically, Isai Vellalars were custodians of temple arts, serving as musicians, dancers, and teachers in royal courts and sacred spaces. Their homes were often vibrant with rhythm and melody, where art wasn’t just practiced – it was lived. This cultural inheritance gave both Gurus not only technical mastery but also an intuitive understanding of the emotional and spiritual dimensions of performance. It’s no surprise, then, that their compositions carry a depth that resonates across generations and transcends linguistic boundaries.
To belong to the Isai Vellalar tradition is to carry the pulse of centuries in one’s veins. And both Gurus, through their innovations and teachings, honoured that legacy while also expanding its horizons – making Bharatanatyam not just a classical form, but a living, breathing language of human expression.
Born in 1921, Guru KN Dandayudapanipillai belonged to an outstanding musical descent of conventional nagaswaram players of Karaikal. His father, Karaikkal Natesa Pillai, was a versatile vocalist. His grandfather was Nagaswaram Vidwan Ayyasami Pillai. The illustrious Rajaratnam Pillai was the brother of his first wife Subhadra. His grandfather’s brother, Ramakrishna Pillai, a talented musician and nattuvanaar was also a well-known Bharatanatyam Vidwan. Guru Dandayudapani Pillai was also a relative of Pandanallur Meenakshi Sundaram Pillai. Guruji’s brother-in-law, Tiruvengada Subramanya Pillai and Uncle Sangeet Kalanidhi P. S. Veerusami Pillai and many more made Carnatic music richer by their contributions.
In 1934, late Guru K J Govindarajan was born in Kiranur in Tanjavur to a family of traditional nattuvanars, who played in the temples for dancers. His great grandfather, Bharatha, was an established nattuvanar who lived in Marakanam, a coastal town of Tamil Nadu, located about a hundred and twenty kms south of Chennai. His name is still engraved in the Temple Stone of Marakanam. His Grandmother, Guru Kalyani Amma, was a versatile Carnatic vocalist. She later shifted to Kiranur, in the Tanjore District. His Mother, Kiranur Smt Jayalakshmi Amma was the First lady flutist of the Carnatic style.
These rich ancestral legacies reveal that both Gurus were not just born into music – they were sculpted by it. Their lineage was a living archive of artistry, and through their own contributions, they became brilliant links in an unbroken chain of cultural wisdom.
2.Training in Vocal Music, Nattuvangam and Dance:
Guru Dandayudapanipillai learnt music from his father, Natesa Pillai, and later from his grandfather, Ramakrishna Pillai, who also trained Dandayudapani in the art of Bharatanatyam. One of his elder siblings, Rukmini was an excellent vocalist, and he started giving vocal performances with her from a very young age. He got advanced training in vocal music from Tiger Varadachariar. His grandfather Ayyasami Pillai also trained him in the field of art. While at Kalakshetra, he used to give vocal support for Rukmini Devi’s performances alongwith Chokkalingam Pillai on the nattuvangam. Since he was in Chennai, Dandayudapani approached Nattuvanar Katumanarkoil for satiating his passion for learning nattuvangam at this stage. Guru Dandayudapanipillai learnt the art of nattuvangam as he had a deep passion for it. He took training for nattuvangam from Kattumanarkoil Muthukumarappa Pillai.
Guru Govindarajan began his training in vocal music at the age of ten. He used to live in the home of his guru and performed ‘seva’ in lieu of the monthly fees. He learnt from Gurus Vidwan Narayanswami of Thirumaigyanam and Issaimani T.V. Namasivayam of Thiruvarur. He gave his first solo vocal recital in a temple when he was just fifteen years old, in 1950. A few years later, in the 1950’s, he also learnt to sing the Tiruaruptas of Ramalingaswami in the established construct under the tutelage of Kiranoor Arutjyoti Vallalar at the Chidambaram temple. Under the guidance of Asthana Ramalingaswamigal Vallar devotee, Kripasamudra Swamigal, he trained to render the Tiruaruptas in the traditional format. For almost ten years, he sang in all the “Samarsas sanmarga Sangam” units in Tamil Nadu. Govindarajan ji, over and above his music training, started training in Bharatanatyam from the Pichaiya Pillai Vidyalaya, Tanjore. Although Pichaiya was no more when Guru Govindarajan joined his dance school, T. M. Arunachalam trained Guru Govindarajan in the Pichaiya bani. He accompanied dance programmes at the Pichaiya School till 1959. As a young boy, he acquainted himself with music, mythologies, and stories, learning the arts from the Pichayya Pillai School. Later he learnt dance and nattuvangam under the guidance of Sikkil Ramaswamy Pillai. It was a completely oral tradition, and he learnt it merely by accompanying it.
Their journeys in vocal music, dance, and nattuvangam were not merely paths of training -they were immersive pilgrimages into the soul of tradition. Through rigorous discipline, heartfelt devotion, and the wisdom of legendary mentors, both Gurus absorbed the essence of Bharatanatyam and Carnatic music, shaping themselves into torchbearers of a legacy that continues to inspire and illuminate the artistic world.
- The move away from their birthplace towards the pursuit of livelihood:
Having lost their fathers at an early age, both gurus, Dandayudapanipillai as well as Govindarajan, moved out of their small respective villages in search of new horizons, opportunities and the pursuit of their artistic endeavours. This move was also accelerated due to the financial responsibilities upon their shoulders to support their families.
Guru K N Dandayudapanipillai, as a boy of 17, moved to Madras seeking livelihood as a singer. He joined Kalakshetra as a member of the orchestra and assisted the renowned Pandanallur Chokkalingam Pillai, who trained the students in Bharatanatyam.
Guru K J Govindarajan moved to Delhi in 1960, as an apprentice to Sikkil Ramaswamy Pillai. One of the original institutions for classical arts to be established in the capital then, was the Triveni Kala Sangam where with his formidable repertoire of classical compositions, Guru Govindarajan started teaching music and afterward dance as well.
Their early journeys from Karaikal and Kiranur to the cultural epicentres of Madras and Delhi were not just physical relocations – they were acts of resilience and artistic calling. With the weight of familial responsibility and the fire of creative ambition, both Gurus carved paths that would not only sustain their own lives but enrich the lives of countless students and connoisseurs. Their transitions marked the beginning of legacies that continue to shape the landscape of Bharatanatyam and Carnatic music across generations and geographies.
- Founding Their Own Dance Institutions:
Empowered by rigorous training in vocal music, Bharatanatyam, and nattuvangam, both Gurus went on to establish their own centres of artistic excellence. Guru K N Dandayudapanipillai founded Natyakalalayam in Madras – a vibrant institution that became a crucible for nurturing classical dancers and preserving the Pandanallur style with precision and grace. Guru K J Govindarajan, carrying his formidable repertoire to the northern capital, established Bharatanatya Niketan in New Delhi. His school became a cultural bridge, introducing the nuanced aesthetics of Bharatanatyam to a new generation of students in North India, and expanding the reach of the art form beyond its traditional geographic boundaries.
- Training and Accompanying Renowned Dancers:
Guru K N Dandayudapanipillai collaborated with and trained some of the most iconic figures in Indian classical dance. He consistently worked with legendary performers such as Yamini Krishnamurthi and Padma Subramaniam and mentored a wide array of celebrated dancers including Hema Rajagopalan, Sri Vidya – daughter of the renowned vocalist M. L. Vasantha Kumari – Vyjayanthimala Bali, Jayalakshmi Alva, Jayalalitha, Kaushalya, Waheeda Rehman, Asha Parekh, Rajasulochna, Chandrakanta, Manjula, Lata, Urmila Satyanarayan, and Usha Srinivasan, among many others.
According to musicologist Dr. B.M. Sundaram, Guru Dandayudapanipillai was the only Natyaacharya to participate in an English-language film, The River (1951), directed by Jean Renoir. He contributed as both composer (of lyrics and music) and singer. A rare dance clipping from the film features Radha Burnier performing, with Guru Dandayudapanipillai providing nattuvangam. At the time, he was a senior guru and staff member at Kalakshetra, where he played a pivotal role in shaping the institution’s artistic ethos.(Indian dance scene / “The River” 1951 (youtube.com))
Guru K J Govindarajan also had an illustrious career accompanying and training eminent dancers. He conducted recitals for Indrani Rehman and collaborated with M.K. Saroja, Yamini Krishnamurthy, Raja Radha Reddy, Kanaka Srinivasan, and Sonal Mansingh, traveling extensively across India to support their performances. Later, in New Delhi, he trained a generation of acclaimed dancers including Swapna Sundari, Kiran Segal, Uma Balasubramaniam, Jamuna Krishnan, Radha Marar, Rasika Khanna, Deepa Venkatraman, Geeta Chandran, Jaishankar Menon, Marie Elangovan, Sudha Gopalan, Ragini Krishnan, and Kamalini Dutt, as documented in various newspaper articles.
A notable archival video captures Guru Govindarajan accompanying Padmashree M.K. Saroja on vocals and nattuvangam during her performance in Switzerland in 1979. The tour was organized by the legendary dancer Ram Gopal, who played a key role in introducing Indian classical dance to international audiences. (Guru M. K. Saroja’s performances and award ceremonies (youtube.com))
6.Both gurus were expert ‘Vaggeyakaras’:
Composing for dance is a far more arduous task than creating a music piece for a concert. Hence, a vaggeyakara must possess many qualities as laid down by the scholars. He should have a sound knowledge of grammar, prosody, diction, and poetics. He should be well versed in emotions and sentiments (rasa and bhava). He should have the capacity to understand different languages. He must be an expert in nritta, gita, and vadya; should have a pleasing voice; command over tala and layam; possess the ability to sing well; have the skill to unravel a theme or create a new theme and the capability for elaborating ragas in multiple ways. Additionally, he must know the technical aspects of dance also, so that the music befits the mood, movement and abhinaya of the dance. He must understand the nonverbal restrictions of his ideas and carefully select words that can be interpreted into mudras. In keeping with these preconditions, such a person might also be termed as a ‘Nritya Vaggeyakara’.
Both the gurus not only penned down the lyrics of their songs but also tastefully tuned them to befitting ragas. This places them in the category of ‘Vaggeyakkaras’, a term used in Carnatic music for a person who is the lyricist as well as the composer of the song. Like dancers and singers, dance-music composers occupy an important rank in the success of a presentation.
Guru Dandayudapanipillai composed both the Dhaatu (word) and Maatu (music). Hence, he is also considered an Uttama (true) Vaageyakara, i.e., composer of the ‘Vaak’- word and the ‘Geya’-musical process. Most composers of the past composed kirthanams, padams and varnams in Telugu. He composed original jatis, Varnams, jatiswaramas, Padams and tillanas in Tamil. He composed several Dance-ballets, scripted some, set the music for them and choreographed some which were performed onstage by leading dancers and film stars. He also made a breakthrough in Hollywood composing music and dance for the movie “The River”. He even sang a song in the film.
Guru Govindarajan was also a very talented Vaggeyakara who created many compositions to add to the Bharatanatyam margam. He wrote in Tamil, which was the primary and only language he knew before he came to Delhi. He created Pushpanjalis, Kauthuvams, Varnams, Jatiswaramas, Padams, Keerthanams and Tillanas. He also created many dance dramas.
7.Published books on various original compositions of different items of the Margam:
Guru Dandayudapanipillai composed over 40 items for the margam including numerous jatiswarams, padavarnams, padams, tillanas and many dance dramas. He composed 9 jatiswarams, 9 padams, 9 varnams, 13 Tillanas and 10 dance dramas- Shree Krishna Tulabaaram, Chitrambalaa Kurravanji, Silapaddikaram, Sivagamiyin Sabatam, Paadmavati Srinivasa Kalyaanam, Thriruvidayaadal Puranam, Meenakshi Kalyaanam, Kaviri Tanta Kalaiselvi being some of the prominent ones. His Navaragamalika Varnam in Adi Talam dedicated to Lord Shiva is one of his most famous varnams. His book of compositions is called “Aadalisai Amudam” which contains his jatiswarams, padams, varnams, tillanas and jatis.
In his magnificent career of 34 years, Guru Govindarajan composed over 50 items for the margam along with many dance dramas. His Varnam set to Raga Kambhodi called “Nee Poyi Solluvan” remains a favourite amongst his students. He composed many dance pieces including two Pushpanjalis, an Ayyappa Kauthuvam, fourteen varnams, six jatiswarams, ten padams, twenty stutis and bhajans, eight Tillanas and nine dance dramas- Padmavathi Kalyaanam, Bhakta Aiyyappan, Silapadhikaram, Dasaavataram, Gajendra Moksham, Navarasa Ramayanam, Bhakta Meera, Kuravanji, and Sankshepa Ramayanam. All his dance drams were performed live barring the last one “Sankshepa Ramayanaam” which was a recorded production. His book of compositions for dance was published by his family in the year 1995 titled “Bharata- Paamalai”. It contains most of his popular compositions. But some more handwritten compositions have been found by his family which have not been exposed to the public yet.
To keep abreast of the changing times, Guru Govindarajan changed the timing and format of the varnams. The beautiful blend of tradition and contemporary demands was visible in his style. Earlier, varnams would be performed for as long as four hours. But he kept his compositions in tune with the pace of the audiences and narrowed down the varnams to crisp thirty-minute renditions).
8.Common yet rare compositions:
- Dasavataram:
Other than jatiswarams, padams, varnams, tillanas and several dance dramas, both the gurus composed the “Dasavataram”, or the ten incarnations of Lord Vishnu in Ragamalika. Before them, only 3 famous composers had written and composed them- poet Jaydev, Muthuswamy Dikshidhar and Swati Tirunaal. This Keertanam is a significant contribution to the Bharatanatyam repertoire to add variety and discourage repetition of the old items being performed over many centuries.
- Bharata Kalai:
They also created the “Bharata Kalai”, a rare composition praising the art of Bharatanatyam dance.
Comparative analysis of their Bharata Kalai compositions:
Both Guru K N Dandayudapanipillai and Guru K J Govindarajan created compositions that pay homage to the grandeur and spiritual depth of Bharatanatyam, each reflecting their distinct artistic philosophies and emotional sensibilities. Though united by their reverence for the dance form and their mastery over its musical dimensions, their compositional styles reveal nuanced differences in approach and aesthetic choices.
While both use the same talam, i.e., Aadi, Dandayudapanipillai composed it in Ragamalika while Govindarajan composed it in Ragam Shivaranjani.
Dandayudapanipillai’s Bharata Kalai:
This item is set to Ragamalika (Charukesi, Saranga, Hamsanandi and Kannada), Talam Aadi. Bharata Kalai, as elucidated by K N Dandayudapanipillai, encapsulates the profound significance of the art of dance. It serves as a lyrical ode to the universal reverence for dance, portraying it as an integral aspect of life itself. Through simple yet profound lyrics, the song expounds on the transformative power of dance, its ability to evoke joy, and its capacity to convey a myriad of emotions without uttering a single word.
The song begins by asserting that dance is universally respected, transcending cultural and societal boundaries. It emphasizes that dance should be revered as a fundamental aspect of human existence, akin to the very essence of life. Through dedicated practice, dancers sculpt their physical beauty, transforming their bodies into vessels of strength and power. The repetitive practice not only hones their skills but also instils discipline and resilience, moulding them into embodiments of grace and poise.
Furthermore, the song highlights the importance of music in dance, highlighting its role in evoking instinctive facial expressions. When paired with suitable songs, dancers effortlessly convey emotions, captivating the hearts of onlookers and replacing any concerns with sheer delight. The emphasis on tasteful costumes and pleasant facial expressions emphasises the importance of aesthetics in enhancing the overall experience of dance.
Moreover, the song extols the virtues of obedience and respect towards teachers, stressing the role of guidance and mentorship in the dancer’s journey. By adhering to the teachings of their mentors, dancers can navigate the complexities of life and emerge victorious, both on and off the stage.
In addition to its aesthetic appeal, dance serves as a powerful medium for expression, capable of conveying a wide range of themes and emotions. The song celebrates the versatility of dance, depicting its ability to articulate love, transcendental experiences, and spiritual revelations without the need for verbal communication. Through intricate hand gestures and expressive eye movements, dancers breathe life into ancient myths, scriptures, and tales of divine beings, enriching the cultural tapestry of humanity.
Furthermore, the song acknowledges the universality of dance, transcending boundaries of class, status, and fortune. Whether depicting the struggles of the impoverished or the opulence of the affluent, dance offers a platform for storytelling and introspection. From the scholarly pursuits of the wise to the artistic endeavours of the creative, dance celebrates the diversity of human experiences.
In essence, Bharat Kalai embodies the essence of dance as a universal language, capable of transcending socio-emotional barriers and uniting humanity in joy and celebration. It serves as a testament to the enduring power of art to uplift, inspire, and enrich the human experience, reaffirming the timeless relevance of dance as a cherished form of expression and cultural heritage.
Govindarajan’s Bharata Kalai:
Bharat Kalai, as elucidated by KJ Govindarajan sir, epitomizes the essence of Bharatanatyam, a classical dance form that has enchanted audiences for centuries. This ancient art form, rooted in the rich cultural heritage of India, transcends mere entertainment, offering a profound experience of joy and spiritual elevation to its spectators.
The lyrics and meanings of Govindarajan’s Bharat Kalai encapsulate the multifaceted beauty of Bharatanatyam. As spectators witness the graceful movements and expressive gestures of the dancers, they are enveloped in a sense of profound happiness. This dance form, characterized by its intricate footwork, emotive storytelling, and rhythmic precision, captivates the hearts of all who behold it.
K J Govindarajan explains that the illustrious poet Elango Adigal extolled Bharatanatyam in his epic ‘Silappadikaaram’, highlighting its integration of poetry, music, drama, and dance. This confluence of artistic elements evokes a harmonious symphony that resonates deeply with the human spirit. The ancient Tamil text speaks of the grammar of dance, emphasizing the meticulous craftsmanship and artistic finesse required to master this sacred art form.
He reiterates that throughout history, Bharatanatyam has been revered and enjoyed by people from diverse backgrounds. The Moovarum, comprising the Cheras, Cholas, and Pandyas, delighted in the splendour of this art form, recognizing its cultural significance and aesthetic allure. Even the celestial beings, the Devas, were enraptured by the divine dance of Lord Shiva, whose cosmic movements inspired the creation of Bharatanatyam.
He elaborates that Mukkannan, the embodiment of Lord Shiva with his third eye, bestowed upon humanity the gift of Bharatanatyam. This art form, characterized by its fusion of bhava (expression), raga (melody), and talam (rhythm), serves as a medium for spiritual transcendence and artistic expression. It is a testament to the divine beauty inherent in the human form, a celebration of life’s rhythms and emotions.
Moreover, his Bharata Kalai emphasizes the inherent grace and elegance of Bharatanatyam, particularly when performed by female dancers. Their fluid movements and emotive expressions imbue the dance with a sense of sublime beauty, reminiscent of the gentle sway of a blooming flower in the breeze.
In essence, Govindarajan’s Bharata Kalai is a testament to the eternal allure and transformative power of Bharatanatyam. It is more than just a dance form; it is a sacred art that illuminates the soul and uplifts the spirit, leaving a lasting imprint on the hearts of all who encounter its mesmerizing splendour.
- The Untimely Demise of the Two Artistic Luminaries:
Tragically, both Guru K N Dandayudapanipillai and Guru K J Govindarajan departed this world far too soon, each succumbing to heart attacks that cut short lives devoted to the pursuit of art. Guru Dandayudapanipillai passed away just six months before his sixtieth birthday, leaving behind his second wife, Chandra, and his adopted daughter, Uma. Guru Govindarajan left us at the age of fifty-three, survived by his wife – also named Chandra, and their four children: Vasu, Elangovan, Raghu, and Vani. In a testament to their enduring influence, the children of both Gurus remain deeply immersed in the arts, continuing to uphold and expand the legacies their fathers so passionately built.
Both Gurus departed while fully engaged in their craft – Dandayudapanipillai while conducting a performance, and Govindarajan while rehearsing for one. Their final moments were spent in the very rhythm and spirit that defined their lives.
The legacies of Guru K N Dandayudapanipillai and Guru K J Govindarajan continue to echo through the corridors of Bharatanatyam, not merely as historical footnotes but as living, breathing inspirations for generations of dancers. What they left behind is not merely memory, but a living archive of compositions, choreographies, and teachings that continue to inspire dancers, musicians, and teachers across generations. Their ability to transcend artistic boundaries and cultural shifts through the sheer creativity of rhythm and rasa is a testament to their genius. As we revisit their life journeys, contributions and teachings, we are reminded that true art does not conform – it evolves, adapts, and speaks directly to the soul. In honouring their contributions, we not only preserve tradition but also nurture the creative flame that drives Bharatanatyam forward into new realms of expression and emotional resonance.
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