The unknown intrigues her as she skims through texts of a bygone era.

Dr Lakshmi Ramaswamy depicts these stories meticulously through theatre and dance, two art forms she has cherished since childhood. While performing, she effortlessly slips into the persona of a woman from the first century, expressing her feelings for her lover to a friend or that of a land-conquering warrior. Currently, the great Tamil epic—

Silappadikaram—is the subject of her imaginative scrutiny.

For the Chennai-based danseuse and researcher, ancient Tamil texts, especially those belonging to the Sangam Period, are enthralling beyond measure. “There is grace in its classicism and rhythm in its realism. Else, why then would it be called the Golden Age? They are vivid in human emotions and exceptionally particular about ethics. Everything is based on ethics, even raging a war had its own norms then,” she explains.

Way back in 1987 when Lakshmi, now a top-notch Doordarshan artiste, performed her first solo debut at a gathering of 7,000 people in Tirunelveli, Tamil Nadu, dance to her was only a glittery affair. For more than a decade, she remained only a performer, far from the vicinity of the academics of dance.

Lakshmi, who holds a master’s degree in commerce, shifted to Chennai after marriage and enrolled for a master’s degree in Bharatanatyam at the University of Madras. She took up the task of interpreting the Koothanool, a rare Tamil text in which she did her doctorate. “And this was the beginning,” says the first Fulbright Fellow in Bharatanatyam.

Full-length productions based on her research works began with Natrinai, a collection of 400 songs of aham poetry (that which deals with the relationship of a man and a woman) followed by Ainkurunuru, which is still untouched by any other dancer. The response to these performances was encouraging and helped Lakshmi carve an inimitable niche for herself.

Supported by her guide and professor, Dr S Raghuraman, Lakshmi made productions such as Tirumalai Aandaver Kuravanji based on Kuravanji Literature, Purananuru from Sangam Age poetries, and many more. Currently, Lakshmi has received a senior fellowship from the Ministry of Culture to work on the great Tamil epic,

Silappadikaram, authored by Ilango Adigal in the second century.

The story of Kannagi, Kovalan and Madhavi is known to most. But according to the scholar, “there is much more that needs to be fathomed”. She believes the text is an encyclopedia for historians, musicians and dancers. “The text’s myriad layers are challenging and contain jaw-dropping information on both grammar and performance that were in vogue then,” she says. Lakshmi says that though Ilango was a Buddhist, the writer was tolerant towards all religions. “Religion in those days meant each of the landscapes being connected to a presiding deity,” she explains. “For example, Lord Muruga was the deity of the Kurinji or the mountain regions. The text mentions a wide variety of dances, including those done by soldiers and ghosts.”

While Lakshmi is proud of literature of the past, she equally appreciates meaningful contemporary work. However, working on such productions brings with it multiple challenges.

“The phase of interpreting is time-consuming with limited resources; managing funds for sets, costumes and lights is a separate ball game; platforms to showcase such productions are quite few and they too have budget constrictions,” she says. But that does not stop the determined artiste, whose cascading long hair and warm smile only add to her charming personality.

“My mission is to ignite the minds of my students. That is my bhakti towards my work and not merely lighting lamps,” says the teacher whose institution Sri Mudhraalaya is now 21 years old. Besides dance, theatre, history, theory, lighting, stage presentation and choreography are taught at her school.

source: http://www.newindianexpress.com / The New Indian Express / Home> Magazine / by Jagyaseni Chatterjee / October 24th, 2015

Madurai  :

Keeping its 300-year-old tradition, Kambalathar community continues to conduct its marriage ceremonies in the village square by trying to keep close to nature.

Jayabalan, 25, son of Bangarusamy and Lingammal of Ezhuvanampatti near Battalagundu in Dindigul district, tied the knot with Sivasakthi, daughter of Ponram of Koduvilarpatti in this traditional manner. As per the tradition, elders of the village went into the forest and brought branches of some perennial trees such as milk tree (brosimum galactodendron). Two huts were made using these branches – one for the groom and other for the bride.

Priest Mookiah performed the marriage ceremony while the bride and groom remained at the huts. The marriage ceremony is performed in front of mud pots containing millets, jaggery and betel leaves. “These were things that our ancestors consumed as food and was given to the bride for prosperity,” he said.

A horse was then brought to the venue and groom mounted it and galloped around the bride’s hut before tying the ‘mangalsutra’ around the neck. Other ceremonies and rituals followed. People gathered at the venue sang songs glorifying their community’s culture and heritage.

These people believe that the ‘thali’ or ‘mangalsutra’ should never be kept down once the goldsmith makes it. A woman from the groom’s family wears it, till the day of the wedding, when he takes it from her and ties it to the bride.

S Siva Murugesan, a siddha doctor from Dindigul, says that the Kambalathar community hail from Bellary in Karnataka which was earlier under Andhra Pradesh. They still speak Telugu. “They were traditionally shepherds who roamed the Himalayas. They were fearless warriors a reason why Vijayanagar empire appointed them as soldiers and made them lead them,” he said. They were tribes that roamed the hills, so they carry out rituals that pertain to nature only.

They crossed the Tungabatra river led by Vijayanagar dynasty’s Viswanadha Naicker and came to conquer Madurai, which was under the rule of the Muslims and succeeded in their quest. The used the tantric method in war and believe only in natural forces.

Veerapandia Kattabomman, the chieftain from Palayamkottai who fought against the British belonged to this community. They were also made zamindars by the rulers for their loyalty.

A closed community, they were known for suppressing their women. It is in the last three decades that these women have ventured out of their homes and gone to pursue their education, he said. One such except was the new bride Sivasakthi who had completed her post-graduation.

K Samikannu an elderly person from the community says it is a must for all members of the community to conduct the initial marriage ceremony in this traditional manner.

“It is something that has been followed for the past 300 years. But the reception and feast can be conducted in a hotel or marriage hall,” he said.

source: http://www.timesofindia.indiatimes.com / The Times of India / News Home> City> Madurai / by Padmini Sivarajah, TNN / October 30th, 2015