The stage

Rukmini Devi Arundale faced a great deal of opposition in her efforts to re-interpret Bharatanatyam; one of the arguments was that the dance form had become so bawdy, which is why it was rooted out from the very temples, where it was born. Rukmini Devi's intent was that the dance "...should create the temple atmosphere on stage...", as she searched for a design which would meet that intent.

The result was the Koothambalam in the Kalakshetra complex. Designed and built with the help of D.Appukuttan Nair, who had also built the Koothambalam at Kerala Kalamandalm, the building can accommodate 750 - of which 50 will have to sit on the floor directly in front of the stage. The stage itself is raised only a foot-and-a-half from the rest of the floor, allowing the audience to clearly observe the footwork of the dancers. The building has walls of wooden slats, which allows the breeze to blow through, along with sounds from the outside.


This is a view of the Koothambalam - also called the Bharata Kalakshetra Auditorium - from the rear. The front is graced by Rukmini Devi's statue - and her spirit certainly pervades every rafter of the Koothambalam!

Little sapling

At Kalakshetra; more details in a while...

The lady who might have been President

Maybe that's not a very 'Presidential' image in the photograph, but that's what the lady is best remembered for. Like many others, Rukmini Devi was transplanted to Madras when she was a two-year old, her father having been deeply influenced by the Theosophical Society's ideals. Thanks to that influence, Rukmini Devi was spared the experience of being married off even before reaching her teens, as was common practice in early 20th century India. Not that it mattered for too long; she shocked the conservative society of Madras by marrying Dr. George Arundale, twenty six years older than her, when she was just sixteen.

Her childhood years at the Theosophical Society left her with a lifelong love of nature and art; despite not being trained in dance as a child, something in her made the legendary ballerina, Anna Pavlova, suggest that she take up dance; after seven years of training, she gave her first public performance at the Theosophical Society's Diamond Jubilee in 1935. From then, there was no looking back; Kalakshetra, an institution dedicated to resuscitating artistic traditions of India, was established in 1936 (and has since grown to be recognized as an Institution of National Importance, in 1993).

Though she is best known for her dance performances - and her constant re-interpretation of the Bharatanatyam form - she was also an educationist, bringing in Dr. Maria Montessori to help set up the Besant Theosophical School (and setting up other schools later) and a champion of animal rights. She has been credited as being the motive force behind the legislation against animal abuse and the setting up of the Animal Welfare Board of India. That was only to be expected, for when she became a member of the Rajya Sabha in 1952, she reportedly said, "I should like to be the chosen representative of the tiger, the lion, the dog and the deer, the helpless and the voiceless". Maybe that's why when Morarji Desai sounded her out as a candidate for the President of India in 1977, she was lukewarm to the idea. Had she been more enthusiastic, the then Prime Minister might have pressed her case more strongly. But then, she may not have been able to spend as much time with the Kalakshetra Foundation as she did, almost until she passed away on February 23, 1986, just 6 days short of her 82 birthday. She will always be remembered as a unique individual, who bequeathed a unique institution to the city of Madras!