“No artist is ahead of his time. He is his time. It’s just that the others are behind his time.”
-Martha Graham
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.
3. 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.
4. 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.
5. 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,
Kodhai Narayanan, Sobhana Radhakrishnan, Nitya Krishnaswamy, Marie Louis Fischer,
Jalaja Kumar, Sindhu Mishra, Rama Krishnamurthy, Anne Marie Gaston, Rajika Puri, Kavita
(Shridharani’s daughter) Jaishankar Menon, Manish Chawla, Jai Govinda, Anand, Jayashree
Balasubramaniam, S. B. Pillai, Vani Rajmohan, Marie Elangovan, Lucia Meloni, Sudha
Gopalan, Ragini Krishnan, Rohini 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:
a. 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.
b. 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.
9. The Untimely Demise of the Two Artistic Luminaries:
Tragically, both Guru K N Dandayudapanipillai and Guru K J Govindarajan, who were
diabetic as well, departed this world far too soon, each succumbing to heart attacks that cut
short their lives devoted to the pursuit of art. Guru Dandayudapanipillai left us at the age of
fifty-three, leaving behind his second wife, Chandra, and his adopted daughter, Uma. Guru
Govindarajan passed away just six months before his sixtieth birthday 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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Re: Meaning of song- Ulagam pugazhum. (n.d.).
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Anand, U. (2021). Life & Contributions: Natayakala Chakravarthy K. N.
Dandayudapanipillai (2nd edition, 2021 centenary edition) [English]. Dr. Uma
Anand.