new director for kalakshetra

[manvar]

http://srutimag.blogspot.in/2013/07/pri ... f.html?m=1

[mohan]

Congratulations to Smt Priyadarshini Govind! I hope she gets a lot of support on the administrative aspects so she can concentrate on artistic and educational development.

[arasi]

Mohan,
Was surprised to hear the news because her predecessor headed Kalakshetra not for that many years...

[rshankar]

Congratulations and Best Wishes to Smt. Govind! While the honor is well-deserved, and her capabilities and prowess as an artist are never in doubt, I do hope that, as Mohan says, she gets the necessary support from both within and without the institution, and is able to discharge her duties without political interference (although, there doesn't seem to be much chance of that ever happening in a government institution in India).

[Rsachi]

I am thinking less about Ms. Govind than about Kalakshetra.
An institution set up as a gurukula with inspiring teachers and one that produced remarkable dancers, musicians, teachers and great productions. Built as a unique Gurukula campus like Vishwa Bharati over seven decades or so.

Kalakshetra, a kind of temple to music and dance, is now run by a committee of babus.

It now is getting a new director who is not an alumnus, and I don't know of her track record in running a big-name performing arts edicational institution.

Kalakshetra is more in need of our best wishes.

[mahavishnu]

I think RSachi makes a very valuable point.
The position comes with a lot of headaches, I wonder if Smt Govind has the experience to handle the politics from the powers outside the institution. But I remain cautiously optimistic, in the same vein as Mohan and Ravi.

[Nick H]

We have seen (even having some of it posted here) some of the poison poured on Leela Samson, and from a cursory following of news stories one knows that she suffered vicious attacks for such things as having the wrong sort of name, standing up for promotion by merit, and protecting the immensely valuable Kalakshetra land from grabbing property developers. Attack from within and without, and how she stood it we cannot tell. At least Smt Govind has the "right" sort of name to keep some of those detractors quiet, but other problems will continue ---as they would for anyone in the post. Let us wish her the strength to cope and succeed.

Kalakshetra, a kind of temple to music and dance, is now run by a committee of babus.

The chairman, Gopalakrishna Gandhi, seems to earned a great deal of respect far beyond having another "right" sort of name and actually being a direct descendent of the great man himself. I'm sure that all is not bad in the Kalakshetra administration and that he is one more reason for the "cautious optimism." Hopefully, among the nameless ones, there are others.

[Rsachi]

Nick,
Rukmini Devi graciously received us when our family visited their Adayar campus around 1960. We in fact spent some time with Mysore Vasudevacharya! In many ways we enjoyed the wonderful Kalakshetra experience till my s-i-l passed out in 1984.

We are all victims of nostalgia and unreasonable expectations. But one thing is for sure. The best way to ruin a venerable institution is to run it through a busy-body committee. I do hope that is not the case here and hereafter.

[arasi]

Nick,
Gopalakrishna Gandhi, grandson of two great leaders--his maternal grandfather being Rajaji (Rajagopalachari)...

Here's a fine man possessing all the ideal qualities for leading a fine institution like Kalakshetra. Hope his thinking and ideals can influence the way the place functions. Yet, he's an outsider, a recent transplant to Chennai and he perhaps has to find his way through the political and materialistic maze.

[Pratyaksham Bala]

.
Leela Samson became the director of Kalakshetra in April 2005.

In 2011, former Kalakshetra teacher C.S. Thomas filed a petition against her for continuing to serve in her post even though she had turned 60. This is the age limit for institutions under the Government. Samson sought an extension and remained director.

In December 2011, Gopalakrishna Gandhi was appointed as Chairman.

On April 10, Leela Samson's age came into question again at the board meeting chaired by Gopalkrishna Gandhi, after which she resigned on April 12, 2012. She left Kalakshetra on April 30, 2012.

On May 11, 2012 the Board met again and expressed its desire to have her back.

On June 29, the Ministry decided to re-appoint her.

But a fresh round of legal battles came up, and in August 2012 the Madras High Court ruled against her re-entry.

Following the Court order, Gopalakrishna Gandhi said: “Institutions are far greater than individuals, howsoever eminent they may be. It is important that Kalakshetra’s learning and teaching traditions remain on course.”
.

[Ramasubramanian M.K]

I agree with Rsaachi,Mahavishnu--we hope the nasty politics behind Leela Samson's tenure does not continue- Kalakshetra has a tradition and a rich lore--Priyadarshini is a good dancer--it remains to be seen whether she can more than mere administer the Institution. The vast real estate of the Instittution has so far escaped the rapacious greed of the developers aided and abetted by the politicians. WHILE RAJ MOHAN GANDHI'S heading the Institution gives all hope because of his impeccable integrity and sensitivity to Arts--even he may have to be vigilant that politics does not again creep back--a tall order may be but we will wait and see!!
It is tough to replicate what Rukmini Devi did--the legion of great Musicians/composer like Vasudevachar,Tiger,MDR,(and if I am not mistaken Violinist VVS is associated with the Institution in some capacity)that she fostered(with the help of a remarkable loyal lieutenant in the late Mr.Menon) and the dancers like Dhananjayan,CV Chandrasekhar that passed thro its portals----all of the above have left a legacy that needs to be carefully preserved and nurtured.

[rshankar]

It is tough to replicate what Rukmini Devi did--the legion of great Musicians/composer like Vasudevachar,Tiger,MDR,(and if I am not mistaken Violinist VVS is associated with the Institution in some capacity)

You left out Papanasam Sri Sivan!! He actually composed for Smt. RDA herself!

[Rsachi]

Yes sir. There's a very touching section of a documentary on YT of Mr Shankara Menon talking about how Sivan accepted and served his position as the first music teacher at Besant School.

I think a long string of names in music... BUDALUR, MUDIKONDAN, Dr Kalapakam Swaminathan,, Rajeshwari Padmanabhan, Dr SRJ, Rama Ravi,...

Then:
Adayar Lakshmanan, Krishna Veni, samjukta panigrahi, janardanan, yamini Krishnamurthy...

Then profs Rajaram, Seetha Rama sarma....

[varsha]

then.....
D Pasupathy
A selection of his tracks on a radio here ...
http://www.eambalam.com/samaagamaa/index.php#boxes

[mohan]

Out of interest here is the job vacancy notice:
http://www.kalakshetra.net/pdf/Recruitm ... evised.pdf

Interesting that the job description is only 3 and half lines while the eligibility criteria is more than a page!

[Rsachi]

word count:
culture, dance, music = 4 times
classical = once
bharatanatyam ( spelling variations included ) = 0
Carnatic = 0
education/educational = 3 as in applicant information.

job description:
The Director, Kalakshetra Foundation, shall be the Principal Executive Officer of the Foundation and shall be responsible for the proper administration of the affairs of the Foundation, its day-to-day management and preparation of the annual statement of accounts and budget estimates of the Foundation.

Great stuff for Ms. Priyadarsini Govind to do!!!!!

[Rsachi]

From the Hindu, 2004:
The Banyan tree metaphor has often been used in the context of Kalakshetra whose original campus was in Adayar close to the famous tree in the Theosophical society. Rukmini Devi moved her school, and the weaving centre further south to the present vast grounds, taking with her a sapling from the old banyan tree. It has grown as a full fledged tree now and stands testimony to the continuity in the great artistic and humanistic traditions that the great lady nurtured all her life, leaving an undying legacy for her sishyas to continue.

[mahavishnu]

Strictly in a lighter vein, Nick, if having the surname Samson is what you think the problem is, then what about Arundale?

Another illustrious but often forgotten name to add to the list of RDA's many recruits is Tiger's brother Krishnamachar, an excellent vainika who taught many artistes there including T Brinda ( and my grandmother, whom I have written about elsewhere). I believe even Smt Kalpakam might have had some lessons with him.

Kalakshetra is the Oxford of South Indian Music and dance. I hope the institution remains strong and immune to all the local changes, which are likely to happen with changes in time and tide.

[Nick H]

Nice point, mahavishnu. It leads to wondering about those early days, the changing social face of Bharatnatyam, and all sorts of things. I'm sure that some of you guys are very well informed on that. Maybe its been discussed already. if not, then I look forward to a thread one day....

[sruthi]

Congratulations to Smt Priyadarsini Govind.
Do we know who were the other candidates who had applied for this position?

[rshankar]

When I think of Smt. RDA, it's not the dancer or the 'savior of bharatanATyam' that comes to my mind - rather, it is an aesthete with a line of sight that extended from one end to the other (adi, anta through the madhya) that I see. Someone with a sweeping vision - nothing seemed to have been beneath her involvement - from the learning of the art form at such an advanced age, performing it publicly (the nay-sayers be damned), creating the first stitched bharatanATyam outfit (and amazing in its utility, secure freedom, and beauty), recreating bridal jewelry in an elegant format to be worn by dancers since, creation of a school to impart education in all aspects of dance and art, support and promotion of musicians, creating the first formal training in naTTuvANgam, wholeheartedly promoting male dancers, creating taris for weaving deceptively simple and elegant sarees for costumes and stage decor for her productions, creating workshops for the props and stage set up etc., etc., etc.- all in all, not paying attention to just the 4th chapter of the nATya SAstra (the only one that deals with dancing) but to the entire text.

I am hoping that Sm.t Govind's vision and attention to minute details, and her involvement not only with regard to her choreography but to all aspects of her stage presentations translates into taking the institution well into the 21st century by extending and building upon Smt. RDA's accomplishments and contributions.

[vasanthakokilam]

Excellent writing, Ravi. That is a succinct portrayal of the many facets and contributions of Smt. RDA. I did not know about some of her contributions you mention. Thanks.

[arasi]

Ravi,
So well put!
That's it! Rukmini Devi Arundel (you have to admit, the name Arundel isn't 'that' foreign sounding as Samson, to add to what you said earlier in a lighter vein!).

A big yes, to what you say so eloquently. For anyone one who cares about the arts--they should be all pervading, touching many aspects of our lives (and not simply exist in compartments as if they are a separate entity).

We don't need to be well-heeled or be part of a particular stratum of society to appreciate the arts and be influenced by them in our every day lives. In a country which is rich in age-old traditions which brim with artistic expression, whether you lived in a humble dwelling or a mansion did not matter. It still holds true. A simple activity like drawing kOlams (rangOli) is one such artistic expression, which in spite of the media 'culture', still survives.

If excessive wealth and commercialism channels the artisans to weave a sari, not in its beauty of workmanship alone but also for some to over-indulge in vulgar display (we have a thread about it), there is more the reason for an institution like Kalakshetra to exist and for it to be an example to us so that the glory of the arts of yore is given expression in beauty and simplicity.

Wishing Ms. Govind the best. Hope she continues the tradition which has its roots in the ideals of Rukmini Arundel.

On a personal note, you have lived in the vicinity, and we know how the arts shaped you!

[RaviSri]

Another illustrious but often forgotten name to add to the list of RDA's many recruits is Tiger's brother Krishnamachar, an excellent vainika who taught many artistes there including T Brinda

mahavishnu, Veena Krishnamachar did not teach T.Brinda at Kalakshetra. It was in the mid 1930s, when Kalakshetra was not even started that Brinda and Muktha went to Krishnamachari's house to learn veena. Dhanammal who went there once when they were learning, asked them to come to her to learn the veena. Brinda-Mukthas' tutelage with Krishanamachari was short lived, only a few weeks.

[mahavishnu]

My apologies for the imprecise wording. All I meant to say was that Smt RDA also was instrumental in recruiting Krishnamachar to Kalakshetra. I believe he taught there briefly before he returned to Bangalore where he passed away in 1947.

On a related note, Sri Krishnamachar's compositions have been published by Kalakshetra (1966, I believe).

[Rsachi]

Today's Hindu Friday Review extract

Very much in tune with the general climate in our art bodies, is what is happening at Kalakshetra, Chennai. After Rukmini Devi left the scene, the institution has been racked by the shenanigans of people from various domains. Each with a personal agenda, the indeterminate scene has been made worse by some senior members of the staff, nursing a strong feeling of being the only ones, who should be consulted in the running of Kalakshetra, a right claimed by having been associated with the institution for years. Ex-director Leela Samson, carrying on bravely amidst bristling antagonisms, worked tirelessly for the institution for seven years, till she was forced to retire. Lack of administrative experience was cited as the main reason for hastening the end. It was certainly a handy peg for grievances of those, who felt they had been sidelined in the decision making

But the present decision of the Selection Committee deciding in favour of Bharatanatyam dancer Priyadarshini Govind is intriguing, for she is still actively performing, and is bound to be away for long periods. From what one knows of her, she has little or no administrative experience. But perhaps there will be others in Kalakshetra to look after this aspect. But in terms of providing art leadership, she represents the Vazhuvoor School and Kalakshetra, from what one has seen, has always been very particular about guarding its own Bharatanatyam vision patented by Rukmini Devi. So what her role will be has to be seen. I would be the happiest person if she succeeds in this venture, but seeing that persons made of far sterner stuff have found the going tough, I only hope Priyadarshini is aware of what she has to deal with.

Art administrators are the need of the hour. One hopes that the Government wakes up to this need and does something to remedy the situation.