Vazhuvoor ramaiah pillai biography of donald
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Remembering ‘Padma Shri’ ‘Guru' Vazhuvoor Shri B RAMAIAH PILLAI (Born 24 December - Died 2 December ), exponent of Indian Classical Dance form BHARATANATYAM, CHOREOGRAPHER, NATTUVANAR, on his Death Anniversary today. He was popularly referred to as Vazhuvoorar. Vazhuvoor RAMAIAH Pillai was born to Shri Parthiban and Smt. Bagyathammal in Vazhuvoor. He learned the arts of Nattuvangam and Bharatanatyam from his maternal uncle Maanikka Nattuvanar.
He was appreciated for introducing innovative trials in Bharatanatyam. He carried the mantle of traditional and most ancient vazhuvoor bani from his ancestors, dating to the days of the Cholas dynasty. He popularized this bani around the globe. If Rukmani Devi Arundale institutionalized Bharatanatyam, Vazhuvooraar popularized, it especially through his star disciple Kamala. He implemented Rama Natak Kiruti, Tyagaraya Swami Kiruti, Bharathiyar songs, Kutralak Kuravanji, Arunachala Kavi songs, and Oottukkadu Venkata Kavi songs in Baratanatyam through his instructions. During the time that the British had banned Bharathiyar's songs, Vazhuvoor made these songs performed by his students in stage plays, thereby encouraging the support of Indian Independence.
His family members consist of his wife Late Gnanasouniram, his eldest
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Ramiah Pillai virtually retired from full-time teaching and conducting in the early &#;s and, from about onwards, his son Samraj has been occupying the gaddi. Pillai has, however, not completely withdrawn ; he has stayed on as an emeritus professor, giving guidance and suggestions, questioning his successor if he felt a change or innovation introduced by the latter strained the bani, and in general making the benefit of his experience available.
Samraj inherited the gaddi when he was hardly 25 years old. He is a vigorous 48 now — with a couple of decades of front-line experience behind him. He has already prepared a successor in Palaniappan, his son of 23 years. The youngster presently assists him in teaching and has started conducting recitals. He will take full-charge one day — and continue the tradition.
Change goes with continuity. Tradition, in order to survive, must make room for the creativity of its new handlers and also respond to the dynamics of changing environment in order to retain its relevance. The trick, for its custodians, is to accomodate the changes while yet protecting the central core of the tradition. Samraj, too, has introduced some changes and innovations. He feels they are for the better, although not everyone may agree with this self-assessment.
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