Bharatnatyam

In 1883, a transformative moment occurred in Baroda’s cultural history when Maharaja Sayajirao Gaekwad III, upon marrying Lakshmibai of Tanjore (renamed Maharani Chimnabai), received a remarkable dowry—a troupe of talented temple dancers and musicians from Tanjore. This pivotal event marked the beginning of Bharatanatyam’s profound connection with Baroda, shaping the region’s artistic legacy.

The Troupe: A Blend of Talent

The troupe brought to Baroda was composed of skilled performers from Tanjore/Kumbakonam. The dancers included the esteemed Gauri, Sarada, and Kamu. They were accompanied by nattuvanars Kannuswamy (Pillai) Nattuvanar and Kuppuswamy Nattuvanar, and a group of distinguished musicians: Muthukrishnan (Nagaswaram), Karandai Ratnam Pillai (Thavil), Ramaswamy (Otthu drone), and Vadivelu Pillai, Sabapathi, and Subramaniam (Mridangam). Sarada and Kamu were later succeeded by Nagaratnam and, eventually, by Gauri’s cousin Kanthimathi in 1891.

In addition to these dancers, the palace also hosted Kathak performers such as Gaurabala from Mumbai, Chamoo, and Sharda, as well as singers Mirabai and Haridham.

Royal Patronage and Cultural Flourishing

Maharaja Sayajirao Gaekwad III, known for his visionary approach and generous patronage of the arts, played a pivotal role in nurturing various art forms. He established the Gayan Shala, India’s first music college, and initiated a Music Conference in Baroda that attracted artists from across the country. Despite his significant influence, his support for dance and music primarily centered around court and festival settings.

The troupe, managed by the “Kalavant Khatha” (the State Department of Artists), thrived under the Maharaja’s patronage. By 1916, the group had expanded to include 48 artists, showcasing the Maharaja’s commitment to the arts.

Gaura and Kanthimathi: Guardians of Tradition

Among the troupe members, Gaura, who arrived in Baroda at the tender age of 12, became a celebrated dancer and composer. Living in a three-storey mansion with other palace entertainers, Gaura’s daily routine involved rigorous training at Indumati Palace. She performed regularly at Motibaug and Nazarbaug Palaces, earning a monthly salary of Rs.112 and sponsoring meals for 50-60 individuals daily.

Gaura’s dedication extended beyond performance; she imparted her knowledge to her daughter, Chandra Amma, and Tulsidas, one of her sons, ensuring the continuity of Bharatanatyam traditions. Kanthimathi, who replaced Bhanumati, also contributed significantly to the dance form, performing for 35 years. Gaura passed away in 1940 (or 1941 according to some sources), while Kanthimathi died in 1953. Chandra Amma continued the tradition until her death in 1983.

Legacy and Recognition

The dancers’ unwavering commitment to preserving the traditional Bharatanatyam margam, unaltered by regional influences, is lauded in the 2002 Gujarat Special Edition of “attendance,” the yearbook of dance. Their efforts ensured that Bharatanatyam remained pure and vibrant, deeply rooted in Baroda’s cultural fabric.

In honor of Gaura’s contributions, Maharaja Pratapsinh Gaekwad commissioned a statue, now displayed at the Maharaja Fatesingh Museum within the Lukhsmi Villas Palace compound.

Rare Footage of Bharatanatyam

A rare video, likely filmed during the 1926 Golden Jubilee celebrating Maharaja Sayajirao Gaekwad III’s 50 years of reign, captures Bharatanatyam performances by dancers who succeeded Gaura and Kanthimathi. The footage includes scenes from the Motibaug Palace gardens, Nazarbaug Palace gardens, and Nyay Mandir.

For more in-depth insights into this fascinating period of Baroda’s history, one can also visit Minai’s blog here and here.