AN INTERVIEW WITH THE DHANANJAYANS

Rukmini Devi Amma liked my work and me. She was very appreciative of  my caliber and capacity.  She almost adopted me as her son, which slowly sowed the seeds of jealousy in the minds of others. I had a very good relationship with her till 1966. But after  my marriage and the logical and legitimate demands for freedom, higher salary etc,  we started having a clash of ideologies and the parting in 1968 took place with a heavy heart.

Bharata Kalanjali was founded in 1968.  It was an uphill task; a question of survival. My initial problem was that people branded me a traitor (because I left Kalakshetra). There was adverse publicity against me from my own alma mater. I did not receive any help from anyone to build my career, except moral help from Shanta’s parents.  But things moved slowly and steadily. People started getting to know me and my ideology, and recognition started coming in without any pull, push or favour.  I stood on my principles and never compromised quality for money.

It was my dream to establish a centre, eschewing the shortfalls I have seen and experienced in Kalakshetra, yet a Kalakshetra offshoot.  Kerala, with its immense talent, has no proper institution. Students from Kerala, come to Chennai to learn, so I want to take Kalakshetra  to the doorsteps of people in Kerala.  This is an art-integrated,  education centre. It offers courses in Kathakali, Bharatanatyam, Carnatic music, Painting, Sculpture and allied art courses. We also plan to build a craft village in the premises. ‘Bhaaskara’ has  a combination of  old values with  a progressive approach for the present and future generations,  to live a peaceful and contended life.

The village response has been great and that is what I want. I am not aiming at city students. My aim is to give good value-based education, to the remote and neglected villages and prove to the world that education and art can flourish in villages too. In fact, I am trying to take the art-integrated education back to its place of origin; the villages of  India.  The response has been phenomenal, but funding is very difficult. No one wants to invest in rural villages.

Two years ago, when we chose the place, it was not easily accessible. But now the place has become easily accessible and tourists have started visiting the place, because of ‘Bhaaskara’.  It is gaining popularity, enquiries  are pouring in, but still people are reluctant to send their children to a remote place. I have the vision and the confidence that it will pick up soon.

The experience in conducting Gurukulam camps in USA is wonderful. We are first of all happy that ever since our  camp started in USA in 1988,  the standard of Indian Dance in USA has vastly improved. We have been trendsetters for the  resident dance and music teachers  and performers.  They all strive to achieve the standards that we have created over the years.  Children, who were critical of India and its cultural values have changed their views, and become great admirers of  India. The parents are also happy, with the outcome. We have been conducting the camp regularly for the last thirteen years. We have also learnt a lot,  teaching these children.

Globalization of our economy and exposure to unwanted things through the media, has  polluted our ethos and the great values of our culture.  Our dancers also succumb to the lure of money offered by foreign bodies. They get momentary publicity, and the money involved in 'fusion' kind of activities,  are all very superfluous and are like bubbles in the water.  Instead of using the word ‘commercialisation’, I would  call the present scenario  “corruption and pollution of art"

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