The son ofÂ Kalaimamani Pandanallur Srinivasa Pillai, renowned Mridangam artist. Sri Pandian hails from a traditional nattuvanar family. He had a rigorous training in understanding the nuances of Nattuvangam from his Guru Sri Pakiriswami Pillai. Later, his advanced learning came under the tutelage ofguru Smt. Indra Rajan. With the blessings of almighty, he had the Nattuvangam Arangetram conducted by his Guru Smt. Kalaimamani Indira Rajan presided By Smt. Vijainthimalabali.
For the last 20 years, he has been a Bharathanatyam instructor in Kaladiksha, a school of Bharathanatyam run by Padmasree Meenakshi Chitharanjan, Bharatanatyam exponent. Sri Pandian accompanies Smt. Meenakshi Chittaranjan in her Dance recitals, conducting Nattuvangam. Apart from teaching, Sri Pandian does free-lancing Nattuvangam and Choreography.
The sincerity and passion towards this art form has made Pandanallur S. Pandian to define himself as the dance director of PANDANALLUR NATYALAYA in Chennai and Udumalpet, training young talents and bringing them to the level of proficiency. In these 2 decades, Pandanallur S Pandian has conducted many Salangai poojas and Arangetrams. Pandanallur Pandian has travelled extensively within India as well as overseas, including Malaysia, Singapore, Swiss, West Germany and Middle East in course of showcasing workshops, demonstrations and performances.
Sri S. Pandian conducts workshops and demonstrations in the field of Bharatanatyam. His teaching talent in the rare, rich Pandanallur style of Bharathanatyam has brought many students from abroad for crash courses.
Apart from trainingÂ students in solo performances Sri S. Pandian has choreographedÂ many dance ballets including the Kutralakuravanji, Kumarasambavam, Ramayanam, Meenakshi Kalyanam, Ennamey Iyyanay, Thaayum Aanavar.
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Origin of the art form, Bharathanatyam
It is believed that Lord Brahma created the Panchamaveda, The fifth veda,Natyaveda, an essence of the other four vedas. It is believed that he has taken pathya (words) form the Rigveda, abhinaya (gesture) from the Yajurveda, geet (music and chant) from Samaveda and rasa (sentiment and emotional element) from Atharvaveda to form the fifth veda, Natyaveda.
After creating this natyaveda, Lord Brahma gave the same to sage Bharata and asked him to spread this veda on earth. Following the words of Lord Brahma, sage Bharata wrote Natyashastra or the Science of Dramaturgy, a great, comprehensive work on the science and technique of Indian drama, dance and music. Bharatanatyam might have got its name from sage Bharata, though another version of etymology states that the letters BHA-RA-THA-M came from the words Bhavam, Ragam, Thaalam & Mudra, the components of the art form.
Pandanallur, the â€œpaaniâ€ (style)
The Pandanallur style has a reputation for its emphasis on linear geometry in adavu technique and for intensity and understatement in abhinaya. The Pandanallur style is renowned for its masterpieces in choreography: some of the main gems in its repertoire are the Nine or Ten Tanjore Quartet pada-varnams (Sakiye, Sami Ninne, Mogamana, Danike, Adimogam, Yemanthayanara, Yemaguva, Sami Nee Ramanave, Sarasijanaba) for which Minakshisundaram Pillai composed the choreography: both dramatic choreography which he called simply “hands” as well as the adavu choreography for the swara passages.
The Pandanallur style of Bharata-natyam stresses:
It is performed on three levels: in deep sitting positions, on the ground, in standing positions and while moving or jumping.