Sastra University,

Thanjavur,
Distance Education Programme
Bharatanatyam (MFA)

PROJECT WORK ON
The Kalakshetra Kannappar Kuravanji - a multi-dimensional study

Bhargavi P
(MFA – 19041)
MFA II YEAR
2019 - 2021

DATE OF SUBMISSION:
14th December 2021
 DECLARATION

I hereby declare that the project entitled “The Kalakshetra Kannappar Kuravanji - a multi-
dimensional study” submitted to SASTRA Deemed University, Thanjavur, in the partial
fulfillment for the award of M.F.A degree in Bharatanātyam is a record of the original work
done by me under the supervision and guidance of Dr.Padma Subrahmanyam, Programme
Director, BFA & MFA, Distance education courses, SASTRA Deemed University, Thanjavur.
This work has not been previously formed the basis for the award of any degree, diploma,
associateship, fellowship, thesis, or similar title. It has not been submitted to any other
University or Institution for the award of any degree or diploma.

Date: 14th December, 2021 Signature of the candidate

Place: Hyderabad Register No: MFA 19041
 DIRECTORATE OF DISTANCE EDUCATION PROGRAM

SASTRA UNIVERSITY

THANJAVUR

DR. PADMA SUBRAHMANYAM, DIRECTOR

DISTANCE EDUCATION PROGRAM, ŚĀSTRA DEEMED UNIVERSITY

BONAFIDE CERTIFICATE

This is to certify that the project work entitled “The Kalakshetra Kannappar Kuravanji – a
multi-dimensional study ” is an independent bonafide work done by Bhargavi P (register no.
19041), student of MFA II, Bharatanātyam during the academic 2020-2021, under my
supervision and guidance, in partial fulfillment of the requirement for the award of Degree of
Masters of Fine Arts(MFA) at SASTRA Deemed University, Thanjavur.

Project Guide
Dr.PadmaSubrahmnayam
Programme Director
Course:Bharatanātyam

DATE: 14.12.2021
PLACE: Hyderabad
 ACKNOWLEDGEMENTS

I would like to thank SASTRA University, Guru Dr. Padma Subrahmanyam, Programme
Director, Directorate of Distance for allowing me to present this dissertation. I would also like
to extend my gratitude to Dr.Jayashree Rajagopalan, a faculty member for her constant
guidance for this thesis. I would also like to thank all the faculty members, most importantly
Dr. Gayatri Kannan, Dr.Rajshree Vasudevan, and Dr.Sujata Mohan for their support and
guidance.

I am very grateful for all the guidance received from some of the senior Gurus and stalwarts
from various fields of dance, especially at this time of the global pandemic. Firstly I would like
to wholeheartedly thank Shri Jayachandran Surendran– a Lecturer at Hyderabad University
dance exponent, a researcher for allotting time off his schedule to teach me the concepts of
dance dramas in detail. I would also like to thank Ms. Smitha Madhav, Dancer, Choreographer,
Teacher, and a Musician for sharing information about the relevance of Azagar Kuravanji and
also for guidance. I would like to thank faculty Mr. Rakesh Bharatanatyam exponent for
sharing insights about Kalakshetra Style and the connection with Dance Drama. I extend my
gratitude to Shri. Murali Parthasarathy Classical Singer for sharing his knowledge about the
Music form for dance and connecting it with Kuravanji. I am thankful to Geetha a librarian
from Kalakshetra for sharing her knowledge about the books availability and sharing the e
copy. Ms. Smitha Madhav for shedding some insights about the Kalakshetra Bani. Meetings
with the above artistes were held virtually and I am very thankful for their generous support.

I am also thankful to all my friends and fellow dancers who guided and helped me in this
process: Ajeissh, Ramya, and Malini. Last, but not least, I would like to thank my husband and
daughter for their constant support throughout this learning journey of mine.
 CONTENTS PAGE

List of Plates……………………………………………………….. 1

Introduction………………………………………………………… 2

Preface……………………………………………………………… 3

Chapter 1- Kuravanji Natakams in the Kalakshetra repertoire……. 5

Chapter 2 - Uniqueness of Kannapar Kuravanji …………………… 7

Chapter 3- Musical highlights of Kannappar Kuravanji …………… 9

Chapter 4- The dance/choreographic aspects ……………………… 12

Chapter 5 – The Aaharya…………………………………………… 18

Chapter 6 - Memorable Performers………………………………… 19

Chapter 7 – My Understandings …………………...……………… 21

Conclusion…………………………………………………………. 26

Interesting Initiative……………………………………………….. 27

Bibliography……………………………………………………….. 28

Plates………………………………………………………. 29
 List of Plates
PLATE 1: Entry Scene of Nagaraja paatra Pravesha
PLATE 2: Tattai Patra Pravesha
PLATE 3: Nagaraj, Thattai, Devarati, and other tribal people with colourful costumes and
jewelry, a scene from Kannapar Kuravanji
PLATE 4: A scene, When the soothsayer performed a puja (‘Malayaala Bhagavathi’), the
tribals gathered around in attention. Some followed the Devaratti’s worship, while others kept
rhythm with a small drum or with anklets.
PLATE 5: A scene depicting paatra pravesham of Thinnan
PLATE 6: Tribal dancers dancing kummi on the coronation of Thinnapar as king
PLATE 7: Lighting and screen beauty of forest when the tribal set out for hunting
PLATE 8: The newly anointed king instructs his men as to how they should camouflage
themselves and move stealthily to hunt tigers and yaalis
PLATE 9: ‘Nagarajan is being informed by his minister Nanan that his crowned prince
Thinnan is transfixed the spire of the kalahasti temple
PLATE 10: Thinnan embraces lord and says he feels as though he has met his long-lost friend
PLATE 11: The Brahmin priest bemoans that the sanctity of the temple has been lost shocked,
seeing those pieces of meat lying around the linga.
PLATE 12: Believing the Lord’s eye to be bleeding, Thinnapar gouges out his own eye.
PLATE 13: Thinnan placing his great toe on the linga to mark the spot of the bleeding second
eye.
PLATE 14: Kannapa is stopped by Lord shiva as he tries to remove his second eye
PLATE 15: Lord Shiva deeply moved by Kannapar’s devotion.

1
Introduction
Dance provides numerous functions in society. People experience dance in different ways and
for many different reasons. For me, dance is not only a performing art on stage, screen and
media, but dancing can also be a prime means of expressing cultural heritage and identity.
Historically, dance was often performed in rituals, worship, social celebrations, and as a means
of entertainment and self-expression. Today, dance is still a part of traditional events but also
as an element of new innovative performing experiences.
My childhood days were spent hearing a lot about great gurus and institutions. My favorite
gurus are Dr. Padmasubramaniam (very lovingly called Paddu Akka), guru Chitra
Vishveshawaran and Dr. Sudharani Ragupathy, and Institutions like Kalashetra, Nrithyodaya,
Bharatakalanjali. I have always wondered that I need to learn under one of these dance gurus
and now I have been fortunate to learn from Padu Akka under our MA program at Shastra
deemed university. The moment I heard a project to be submitted various thoughts and ideas
struck. l was approved for observing and studying the Kannapar Kuravanji dance drama of
Rukmini Arundale. What inspired me to study Kannapar Kuravanji is that it is not like the
usual Kuravanji dance drama it is one of its kind. Although dancing is the most common way
that I would like to interact with the art of dance, here I have tried the other side of dance which
includes choreographing, viewing, and analyzing it.
Purpose:
● To utilize my understanding of Kuravanji dance drama.
● To observe how the collaboration started and how peers work together and their effort,
teamwork was necessary to convey a message through dance
● To entertain an audience, but more importantly to convey a message of awareness and
recognition through the means of dance

Essential Questions
● How Bhakti component is shown?
● How do movement and music influence each other?
● How can intense love and devotion lead to “God”?
● How can dance be used to show the unusual love story of nayika and nayaka?

2
Preface:
Since times immemorial, the performative traditions of South India have had strong musical,
theatrical and dancing elements to them. These traditions have straddled the dual realms of
worship and entertainment with ease and elan. The southern lands have seen the growth and
development of Natya Natakams, Geya Natakams and many other such forms.

The Kuravanji Natya natakams have enjoyed a pride of place in the performing traditions of
south India for around three centuries now. While most of them revolve around the stock theme
of a maiden losing her heart to the presiding deity or ruler, they also offer a fund of information
about the life and times of the author, the lifestyles of native people, the geography and
topography of the land, the occupations and skills of the characters in the Natya natakam, so
on and so forth.

Since they are a perfect balance of Iyal (literary elements), Isai (Music) and Natakam (theatre),
the Kuravanji natya natakams found patronage in temples, in royal courts and myriad other
venues. The eclectic blend of romance, humor and piety made them an ideal source of
amusement for man and God alike. A unique aspect of the Kuravanji dance dramas is that
though the hero and heroine might be godly characters, the title of the natakam always
highlights the role of the Kuravanji woman- a simple tribal lass from the hills.

This highlights not just the importance accorded to the folk arts, but also the knowledge and
wisdom possessed by even the so called “unlettered” people of our land. At a philosophical
level, the entry of the Kuravanji signifies the entry of a Guru or Acharya into the life of the
Jeeva and her words guide the struggling Jeeva to attain the eternal and blissful company of
the Paramatma.

The musical, lyrical, and dramatical robustness and richness in the Kuravanji Natya Natakams
have ensured their continued popularity in the proscenium stage and despite the rapid changes
that are taking place in the area of performance, these Natya Natakams are often presented and
immensely well received.

3
In the post-modern period (especially over the past few decades), a few Kurvanji performances
have been extremely popular and evergreen. This is certainly due to the brilliance of the artists
who helmed these presentations. A few memorable Kuravanji performances have been:

1. The Varalimalai Kuravanji presented by Dr. Padma Subrahmanyam in the year 1986 1
2. The Azhagar Kuravanji presented by Dr. Vyjayanthimala Bali in the year 1965 2
3. A few of the Kalakshetra Kuravanjis choreographed by Smt Rukmini Devi Arundale
1. Sita Swayamvaram 2. Paduka Pattabhishekam 3. Sri Rama Vanagamanam 4. Sabari
Moksham 5. Choodamani Pradanam 6. Maha Pattabhishekam 7. Jatayu Moksham 8.
Kannappar Kuravanji 9. Rukmini Kalyanam 10.Kurmavataram

Needless to mention, the factors that contributed to the popularity and extraordinary success of
the above mentioned Kuravanji dance dramas are many. Primary among them are the sheer
brilliance of the artists that portrayed the lead roles. Other factors include scholarly editing of
the sahitya, soulful renditions by accompanying artists and musicians, suitability of the
Aahaarya etc.

This study is an attempt to study in brief the “Kannappar Kuravanji” presented by Kalakshetra
in the year 2021. This dance drama was choreographed by Smt Rukmini Devi Arundale and
the music was composed by Shri Papanasam Sivan. It was first presented at the year 1962.

1
https://www.youtube.com/watch?v=POIVDvSCn6Q
2
Rukmini Devi Arundale, 1904-1986: A visionary Architect of Indian Culture. Page 70. e-book

4
Chapter 1

Kuravanji Natakams in the Kalakshetra repertoire

Though the staging of group work may or may not have been high on the agenda of
Kalakshetra in the earlier days, by the 1960s, the dance dramas choreographed and presented
by “Athai”, Smt Rukmini Arundale came to be highly anticipated and well received. Not only
were they high on the social calendar, but they also came to be noticed for many novel elements
including the male dancers who played the lead roles in them. Rukmini Devi’s increasing
appetite for dance drama productions motivated her to cast her net wide and choose from
amongst the fund of literary material that India has had to offer. Thus, came the Ramayana
series and myriad other dance drama productions; each a gem by itself.

For an institution like Kalakshetra that had a handful of very well trained dancers (both male
and female) and that had a rather puritanical view of Shringara, the Kuravanji Natya Natakams
turned out to be not just a wise, but a natural choice too. They afforded scope for multiple
dancers to receive performance opportunities at the same time. The presence of Kathakali
aashaans in Kalakshetra and Athai’s willingness to borrow elements from Kathakali rather
copiously made it easy to flesh out the portrayals of the male characters.

Thus entered into the portals of Kalakshetra three prominent Kuravanji Natya Natakams, viz:
Krishnamari Kuravanji, Kuttrala Kuravanji, and Kannappar Kuravanji. The Krishnamari
Kuravanji was taken up by Smt Rukmini upon a divine direction from Devi Karumari Amman
that was communicated to her through a medium, Shri Ramadas Swami. In this natakam, the
heroine Madanavalli unites with Lord Vedapureeswara (another form of Lord Siva), through
the grace of Devi Karumari. The kuratthi here is considered to be an incarnation of Lord
Srinivasa of Tirumala. Early performers of this dance drama who earned renown for
memorable performances include Krishnaveni Lakshmanan, Satyabhama, Uma Rao, Jayashree
etc.

In the Kuttrala Kuravanji, the heroine Vasanthavalli pines for and unites with
Thirukuttralanathar with the help of the gypsy woman. As with most Kuravanjis it has a

5
shringara / madhura bhakti based theme. This magnum opus of the poet Tirikkuda Rasappa 3
Kavirayar also happened to be the first Kuravanji dance drama presented by Smt Rukmini
Devi. The music for this drama was scored by Shri Veena Krishnamachari. Perhaps by being
one of her earlier choreographic works, one observes that this Kuravanji has a small cast, and
does not have too many geometrical formations, pindi bandhas and imaginative placements
that one in her subsequent works. The narrative style is also fairly direct.

3
Composed in the year 1720

6
Chapter 2

UNIQUENESS OF KANNAPPAR KURAVANJI

This is the third and final kuravanji dance drama presented by Rukmini devi. It is unique in
more ways than one. The single biggest highlight of this drama is it's unique them: a kuravanji
which has no element of shringara or eroticism in it. The central theme of this Kurvanji is the
utter devotion of a simple devotee and his journey towards self-realization.

The landscape, the décor, the aesthetics the gigantic forest backdrop in the first half and an
equally gigantic Siva Linga in the second, the simple movements and dialogue, the
straightforward yet nuanced portrayal of roles, the captivating music, both classical and folk,
come together to create a memorable spectacle.

One also notices that the lion’s share of the choreography of this work is in the folk style.
However, true to the “Kalakshetra baani”, the folk style itself is soaked in classicism and
austerity. The movements are very much in the “Natyadharmi” mode. The clever and seamless
interspersing of verse from Periya Puranam and other such ancient works into the lyrics of the
Kuravanji itself elevate and heighten the Bhakti element of the presentation. A case in point
is the opening verse in Shuddha Saveri “Ulagellam”, from the works of Sekkiyar, which
establishes the supremacy of Lord Siva and his magnificent attributes. 4

In the opinion of this author, the most magical part of the Kannappar Kuravanji is that though
there is no “Viraham” per se anywhere in the Natya Natakam, the pain and suffering felt by
Thinnan is no less than the pangs of separation experienced by the most anguished
Virahotkantitha Nayika.

Just as Mohanavalli falls in love with Tirumaalazhagar in Azhagar Kuravanji, or Vasanthavalli

falls for tirukuttralanathar in Kuttrala Kuravanji, so does Thinnan fall for Kalahasteeswara. His

4 He who should be realized and worshiped by this world, having Moon and Ganges in his body, performing cosmic dance in this

universe, We shall pray his lotus feet adoring anklets.

7
love is also what one would call “Love at first sight”. When his aide nanan tries to separate
him from Sri Kalahasteeswara, Thinnan suffers immeasurably. He rants and raves and speaks
to himself.

Similarly, just as the Kuravanji woman sees the palm of the oining heroine and predicts her
happy and imminent wedding to her beloved, in the Kannappar Kuravanji, the devaratti applies
Kohl to her palm and predicts the imminent mukti of Kannappan and his eternal unison with
Lord Shiva.

Thus, though the Kannappar Kuravanji does not prima facie possess the shringara elements of
a usual Kuravanji Natya Natakam, when viewed from the prism of Madhura Bhakthi it
possesses all the requisite elements of a Kuravanji dance drama

8
Chapter 3

MUSICAL HIGHLIGHTS OF KANNAPPAR KURAVANJI

It is quite obvious that the music of the entire dance drama is steeped in Bhakthi and emotion.
This is hardly surprising, especially when one considers the fact that both Smt Rukmini Devi
and Shri Papanasam Sivan were devout believers. They both hailed from orthodox and
religious homes and thus a deep-seated love for sanatana dharma was lodged securely in both
their minds. Thus, it was perhaps but natural for the music to have flashes of genius and
glimpses of passionate Bhakthi in it.

While Smt Rukmini devi was an ardent devotee of tradition and strived hard to preserve and
propogate the musical legacy of dance that was bequeathed to her by her gurus, she was also a
true Indophile. She loved all things Indian and thus embraced the folk music and dance
traditions of India with a passion. This reflected not just in her composing and choreography
but in all aspects of her life.

Thus Kalakshetra became a melting pot of all art forms, including the “classical”, folk and
visual arts. The variety and verve of folk music proved to be a breath of fresh air to the
otherwise austere and almost sombre music of the time. However, as with all things
“Kalakshetra”, the folk music also possesses an extraordinarily chaste and austere quality to it.

It is well known that Rukmini Devi described her process as “composing” and not as
“choreography”. Though what she did may be described as what we now refer to as
“choreography”, the truth is that she was much more than just a choreographer. Though aided
by a large and hugely competent team, she was the captain of the ship. It was her vision that
one finally saw translated on stage. Thus, though the music composer for this Kuravanji was
someone as eminent as Papanasam Sivan himself, one can most certainly give some part of the
credit for the beauty of the music to Rukmini devi too.

9
Yet, a few musical passages deserve special mention. These passages dot the landscape of the
musical score and stand out for their sheer brilliance, emotional quotient and scholarly content.
A few such passages are listed below:
1. The invocatory verses in Durbar and Vasanta
2. The entry song of the Devaratti in Khamas. This raga does full justice to the character
or Patra of the Devaratti. She is at once buoyant, yet sobre; bubbly yet wise and thus
this raga is most certainly a perfect choice for the entry of this all important character,
who in many ways anchors and steers the entire dance drama. This song has a sollukattu
and teermanam for every charanam, making it more elaborate than the usual paatra
pravesham. This seems most apt since the Devaratti is one of the pivotal characters of
this Kuravanji.
3. A ragamalika song presented by the Devaratti comprising the ragas Todi,
Kharaharapriya, Kambhoji, Ramapriya and Mohana. This song is also embellished with
sorkattus in each raga.
4. Equally noteworthy of mention is the song composed for the entry of Nagaraja. This
piece in Gambheera Nattai is dotted with peculiar and unique sorkattus that are apt for
the entry of the ageing tribal patriarch with his tribesmen.
5. The entry of Nagaraja’s queen Thathaiyar is set to the raga Kurinji, one which is
associated with the hill tribes. This song describes in great detail the attire and beauty
of the queen.
6. The use of Punnagavarali in the song where the queen and the king converse is a rather
unconventional and brave choice. One usually associates this raga with a rather
meditative and melancholic mood. However, here it is used in a rather folksy and
conversational manner. This goes to prove that Shri Sivan was a purist to the core, he
did not hesitate to push the envelope and go contrary to type as and when needed.
7. In most old Kuravanji dance dramas, even the most simple of characters are portrayed
through weighty and ancient ragas. Thus it is not unusual to find a gypsy woman’s song
in Begada or a Erukula Saani’s in Yadukula Kambhoji or a bird catcher’s in a
Kharaharapriya. In a similar vein, this drama sees the tribesmen entreaties to Nagaraja
in Raga Huseni.
8. Another instance of a weighty raga being used by a rustic character is seen in the
ensuing scene when the Devaratti dances to a beautiful song in hanumantodi (todi) that
describes her mountains, Mount Kailasa and the dance of Nataraja. She also

10
 enumerates her magical powers in this song. This number is embellished with a small
Teermanam.
9. The ensuing number in Pantuvarali , is technically in the folk style, but is nonetheless
a study in classicism.
10. In her book, Kalashetra – Rukmini Arundale Reminiscences by Smt S Sarada recalls
an interesting anecdote connected to the Patra Pravesha of prince Thinnappar.
According to her recollection, Shri Papanasam Sivan had composed the original Patra
pravesham for the young royal in a brisk Kedaram, but promptly changed it to a
majestic but equally energetic Mayamalavagowla upon being requested to do so.
11. The clever use of Tisra Gati in the Kapi raga song “ Varum Varum Vedargale” depicts
the delicate and fine balance between Thinnappar’s knowledge of the hunt and his
distaste for violence. The raga kapi and the tishra nadai lend themselves to this unusual
blend in the most suitable manner.
12. A verse from the periya puranam is used to depict the transformation of the protagonist.
In many ways, this is the turning point of the drama. From here on Prince Thinnappar
makes way for Bhakta Kannappa or Kannappa Nayanar.
13. The song Theydi Vandeyn ayya is an elaborate one where Thinnan pours out his
feelings. He says he feels as though he has met his long lost friend. He is at once ecstatic
yet emotional.
14. The simple song in Bilahari where Thinnan innocently asks Lord Siva why he lives
here all alone in a jungle infested with wild animals. He is despondent at what he
believes to be the loneliness of Siva. To his eyes, the Lord seems to be emaciated and
lean!
15. Special mention must be made of Smt Kamala rani’s rendition of the verses “Adi Pottri-
Arive Pottri” in the raga Bowli. These lines are from the tiruvachakam and immediately
changed the mood of the dance drama from vigorous and dynamic to meditative and
elevating.

11
CHAPTER 4

THE DANCE / CHOREOGRAPHIC ASPECTS

In general, it is widely known the choreography or the stringing together of adavus in the
Kalakshetra bani is done in a very austere, neat and taut manner. The bhakti element shines
through most of the time, if not always. The body is held erect and shorn of any undue bends.
Sloppiness of any kind is firmly eschewed. The shoulders and arms are never allowed to droop
and are instead held in perfect alignment to the rest of the torso. The araimandi is deep and the
feet and ankles move in well thought out and perfectly aligned angles.

As with all Kalakshetra productions, the choreography and presentation of the entire
Kannappar Kuravanji drama is austere, neat and free of any unnecessary frills. The adavu
presentation is tight and taut. Some portions of the choreography of the dance drama that
deserve special mention include:
 A Kummi like sequence performed by six hunter girls in the early parts of the drama.
Here they narrate the
 The dance performed by the devaratti and two hunter girls where they describe their
country life in vivid detail.
 The narration of the story of Thinnappar (the original name of Kannappar) is
noteworthy here. The devaratti describes the exploits of kannappar and his proficiency
in archery, warfare and usage of various weapons.
 The next vivid portrayal is that of King Nagaraja’s procession. As the ruler of Uduppur,
his retinue is complete with tribal instruments such as Kombu, drums etc. Though he is
a minor chieftain and not an emperor, the entourage of the king does not lack in the
requisite paraphernalia, grandeur and pomp.
 The high degree of attention to detail is reflected in the scene where Thathaiyar is
welcomed into the court of Nagaraja. As the chief amongst the tribal women, she is
offered arathi and betel leaves (taamboolam). The fly whisk or chaamara is waved on
either side of her.
 The joy of Nagarajan and Thathaiyar is elaborately displayed when they share their joy
at the brave exploits of their son and decide to make various offerings to Lord
Subrahmanya as a token of their gratitude. They also propose to offer a Kalasam for

12
 the Gopuram of Sri Kalahasthi. This scene establishes in a subtle yet sure manner that
devotion to Sri Kalahasteeswara is a common trait in the entire clan of Prince
Thinnappar/ Bhakta Kannappar.
 The joy, peity and calm tone of the first few scenes is abruptly interrupted by the entry
of a few harried and hassled villagers who are greatly distressed by the havoc caused
to them and their lands by wild animals. In this scene, the desperation of the villagers
interspersed with their hesitation is delicately portrayed. Though the subjects are in
desperate need of help from their ruler, their innate humility prevents them from openly
sharing woes. It is only after some deal of coaxing from the ministers that the rustic
tribesmen open up to their king. The hushed tones in the king’s court also heighten the
mood of this scene.
 Like with all her dance drama productions, Rukmini Devi ensured that the vachana
portions delivered by her characters were authentic and realistic. The perfect blend
between Natyadharmi and Lokadharmi has been maintained in all dialogue sequences.
Thus, in this drama, when King Nagaraja speaks, he does so in a unique and peculiar
manner. His intonation has a quaint and adorable sing song lilt to it and his articulation
is imminently rustic and simple. When he declares that he is now old and infirm and
will thus coronate his son, he does so in his sweet manner.
 The great attention to detail is evident in the sequence where the Devaratti invokes the
deity Malayala Bhagavati by spreading saffron on a new winnow. She then spreads
paddy on the winnow and divides it into three parts to invoke various deities. She also
creates a triangle on the winnow and examines it carefully. She then declares that she
has successfully deduced the purpose of her being invited into the King’s presence. She
correctly detects that she has been summoned in order to choose an auspicious time for
the coronation of the young prince Thinnappar and his subsequent departure for the
hunt. The depiction and portrayal of all the above sequences and the resultant joy,
surprise and excitement felt by the royal court is seen in a very obvious, yet understated
manner.
 The entrance of a youthful and gallant Thinnappar is depicted in the most eye catching
manner when he almost jumps and lands on to the stage from the wings. He is flanked
by a minister and a hunter/ tribesman. True to his name, Thinnan (which means “the
strong one”) is portrayed as a young, virile, zestful and youthful character.

13
  The ensuing coronation of Thinnapar is simple yet joyous. In keeping with the tribal
status of Nagarajan, unlike the portrayals of coronations in other dramas such as the
Seeta Rama Samrajya Pattabhishekam in the Maha Pattabhishekam dance drama of the
Ramayana series, Smt Rukmini Devi eschewed the portrayal of vedic rituals and rites
and instead kept her choreography of this coronation elegant, short and simple. The
subsequent conversation between the newly anointed young King and the aging
patriarch also shows the twin emotions of affection and respect in a subtle yet clear
way. While the father speaks with affection and tenderness, the son replies with great
respect and in a deferential tone.
 In the subsequent passages, one sees the copious use of group formations and
movements. Here, the newly anointed king instructs his men as to how they should
camouflage themselves and move stealthily to hunt tigers and yaalis 5.
 The very next sequence sees a rather pensive Thinnappar introspect and wonder how
one could have the heart to kill and eat such lovely creations of God. Through this
sequence, one gets a glimpse not just of Thinnappar’s kind heart, but also a sneak into
the nature of the Smt Rukmini devi. That she was a great lover of animals and a firm
supporter of causes related to their welfare is known to all.
 Kannappar Kuravanji is a dance drama in which the protagonist is a hunter. The most
important characters are tribals too. Thus it is not surprising that the dance drama is
replete with scenes about hunting and the slaying of animals and other creatures. One
can only imagine how much of the soul of the choreographer would have churned as
she set and composed these scenes. One reckons that her firm belief in the story and
her unshakeable devotion must have given her the strength to navigate what might have
otherwise been rather gory, gruesome, and ghastly scenes, to her mind.
 The collaboration between Rukmini Devi and Asan Chandu Panicker resulted in some
memorable depictions of the hunt. The entire stage is used and the resultant effect is
exuberant and enthusiastic.
 Humour in the Hunt: The hunting sequences are perhaps one of the few parts of the
Kannappar Kuravanji where one sees a generous dose of Hasya. It is widely known that
hasya sequences are not always the most common in traditional Bharatanatyam dance
dramas. However, at this point in the drama, the scurrying animals and the bungling

5 a mythical creature seen in many South Indian temples, often sculpted onto the pillars. It may be portrayed as part lion, part elephant and part horse, and in
similar shapes.

14
 hunters of Thinnappar’s party offer ample scope for a large dose and effective dose of
Hasya. Thus while one hunter claims victory over an already deceased animal, another
tremble at the sight of a tiger. One manages to catch a tiny fawn over much ado but
keeps it as a personal pet.
 At another juncture, the minister Nanan reaches Thinnan as the latter is transfixed the
spire of the kalahasti temple. The prince is in a trance and asks his aide for details about
the shrine. Though the scene itself is one that is soaked in emotion and bhakthi, Nanan’s
humorous replies to the prince’s queries do not disturb the mood of the scene. On the
contrary, the simple and jovial words of Nanan only highlight and elevate the almost
out-of-world experience that Thinnan is undergoing.
 At a more spiritual level, the hunt and the melee that accompanies it may be a metaphor
for the jourmey of the jeeva towards the ultimate. The jeeva is surrounded by the
messy coils of samasarik existence. He is surrounded by treacherous, wild and violent
influences, that can be likened to the beasts of the jungle. However, when the
Paramatma decides that it is time for this jeeva to shake off the vile and vicious of
trappings, even the most mundane activity (like a hunting expedition) leads to His
abode without much ado.
 In the periya Puranam verse where Thinnappar finds himself at the temple of
Kalahasthi, one sees a fund of Satvika abhinaya. The character, the demenour, the soul
and the body language of the prince- all undergo a complete transformation. He is very
being is stirred. He gazes at the temple with fondness and devotion. His eyes drip with
love and the karma of his past lives gently leave him. According to one legend,
Thinnappar was an incarnation of the Pandava, Arjuna; a great devotee of Lord Siva. It
is possible that the bhakthi towards Rudra was something that has accompanied him
thru his multiple births, culminating in his mukti during this (the birth as Kannappar)
janma.
 When Thinnan has his first darshan of Shri Kalahasteeswara, his bow and arrow fall
from his hands on their own. At a philosophical and metaphorical level, this may be as
a simple but profound means to express the ultimate essence of all Vedanta. Once the
jeeva is in the proximity of the divine, he needs no further weapons to protect himself.
The jeeva or the soul is the property of the Lord and its protection is His duty.
 Similarly, all the senses or the Indriyas shed themselves, and the pure and pristine
Jeeva journeys towards the Siva Tatvam. The arishad vargas and all the trappings of

15
 mortal existence cease to matter and all that shines forth at that moment is the eternal
and unbreakable bond between the Jeeva and the Param. All the trials and tribulations
that plague the soul can do so only until he is away from his creator and his master.
Once he enters the space of “Siva Saannidhyam”, his activities: physical, mental,
spiritual, and emotional no longer matter. The Lord also accepts the jeeva with great
tenderness, love, and affection and does not pay any attention to what the jeeva
possesses or what he brings to him.
 In the scenes where an agitated Thinnan wants to leave the temple to go and hunt to be
able to “feed” Lord Siva, his confused state of mind and anxiety are heart wrenching.
Though he is most eager to go and procure food for his beloved Parama Siva, he is
unable to bring himself to move out of the shrine, thereby leaving Kalahasteeswara
“alone”. The irony of this entire scene is conveyed most effectively.
 The transformation of nanan is also noteworthy. He transitions from a humourous and
semi valorous sidekick of the prince to a concerned and worried minister. When he sees
that Thinnan has changed for good, he quickly leaves Kalaasthi and returns to Uduppur
to report the happenings to Nagan and Thatthai. He is not only witness to the change
that has happened to Thinnan, but is also aware that he is witness to history and its
making. The stirrings within Thinnappar affect him too.
 The following scenes are at once moving, amusing and blasphemous. Having resolved
to tend to what he perceives as an ignored and emaciated deity, Thinnan sets about
arranging food, flowers, and abhisheka water for the Linga. Since he carries meat in
both his hands, he uses his mouth to carry water for the abhisheka and his head for the
flowers. Unaware that all these construe unspeakably horrendous offences, he is
overjoyed that he can feed, bathe and tend to his beloved Siva
 Even as Thinnan worships in this manner, the Lord is enjoying and relishing the
happenings in his sanctum. He is not perturbed by the so called blasphemy of Thinnan.
On the contrary, he enjoys the abhishkem more than when he is bathed with holy
anointed waters. He does not mind that Thinnan is feeding him meat. Just as a mother
receives kicks and blows to her chest from her infant with joy, He too is thrilled at his
devotees zeal.

 The feelings of Siva at the juncture are perfectly imagined and recreated by Shri
Sankara Bhagavatpada in his Sivananda Lahari, through the words:

16
mArgAvartita pAdukA pashupater angasya kUrcAyate

gaNDUShAMbu nishEvanm puraripo divyAbhiShekAyate |

kincit bhakshita mAMsa seSha kapalaM navyopahArAyate

bhaktiH kiM na karotyaho vanacaro bhaktAvataMsAyate ||

17
CHAPTER 5
THE AAHAARYA
It is well known that Smt Rukmini Devi took a great deal of interest and put in a lot of effort
to ensure aesthetic, appealing, comfortable, durable, and authentic aahaarya for all her
productions. She studied the bas reliefs in temple panels and sought inspiration for the
costumes of Kalakshetra. Her association and collaboration with the Kathakali aasaans also
influenced her choices in costumes, accessories, and other gear.

The inputs she gained from various sources combined with her own sophisticated and refined
taste and sense of style came together to create a unique style of costumes for Kalakshetra. As
a widely travelled theosophists, with friends across the globe, she had a rich fund of experiences
and influences to seek inspiration from. Her refined tastes extended not just to costume design
but also to stage décor. Thus one notes that she discarded the colourful backdrops that were in
vogue at that time and used plain back screens instead.

In her dance drama productions, Smt Rukmini Devi used colours cleverly, judiciously and
wisely. In the Kannappar Kuravanji, though the entire dance drama has a tribal and rustic feel
to it, the costumes, décor and aahaarya is elegant and not loud or garish. One sees plenty of
colours, but all are used in the right place and in the right amount. Feathers, shells, and other
rustic items are used, but the effect is still understated.

The attires of Nagan, thatthai, Devaratti etc are embellished with leaves and conches. The
decoration comprised beads and other items that are readily available in nature without much
human intervention. The kurathi carries the usual pouch, betel leaves, nuts etc. Being hunters,
the male characters carry swords, knives, and sticks. All the accessories have a matte finish to
them and are fully free of unnecessary bling, jazz, or sheen.

The attire of the Sivagochariyar is also peculiar, unique, and exclusive. He wears saffron robes,
tiger skin, and a garland of black rudraksha. He holds a gourd kamandalam even as he carries
water and flowers in each of his hands for the worship of Kalahasteeswara. Special mention
must be made of the gigantic Siva Linga that dominates the second half of this dance drama.

18
CHAPTER 6

MEMORABLE PERFORMERS

1. One of the earlier portrayals of the Devaratti was by Pushpa Sankar. It is said that her
enactments of the parts where the Devaratti makes her predictions were so realistic, that
her cook /helper exclaimed “ I never knew Pushpa Amma could find out everything
through her inner vision”.
2. Shri Balagopal was one of the first artists to play Thinnappar. The transformation
experienced by his character was portrayed most movingly by him. As his eyes dripped
with immeasurable eagerness and ever increasing love, he became one with the
character. Many rasikas who saw his performances in those days recall that they would
have goosebumps and experience horripilation during these scenes. Many were moved
to tears too. Such was the impact of his abhinaya.
3. Shri Kunhiraman and Pushpa Jadhav were one of the earlier pairs to play Nagan and
Thatthiyar. Their unspeakable agony at losing their son to a life of renunciation often
moved the audience to tears. In a matter of a few minutes, they went from proud parents
to devasted ones. This transition was subtle yet clear for all to see.
4. Shri V P Dhananjayan as Sivagochariyar caught the imagination of the audience. His
disgust at seeing the pieces of meat that defied the lingam, his sadness that his devotion
and worship were being defiled in the ugliest manner, his unmasked wrath and the
unknown miscreant, and his inability to solve the problem on hand, all were
communicated by the veteran with elan.
5. Shri Jananrdhanan, as Nagarajan or Nagan, is a study in dignity and contrasts. In the
opening sequences, as a proud father of a valorous son, his body language is exuberant
and buoyant. In the second half of the drama, when he sees that his son has lost all
interest in the material world and is now one with his maker, he displays mixed
emotions in quick succession. He is a broken man, whose dreams of seeing his son rule
his lands stand shattered to smithereens in front of his very eyes. At the same time, he
is also a blessed father, who has sired a great Bhakta, one that will illuminate the name
of his entire race, thus echoing the ancient wisdom “ SuputrO Kula Deepakaha”. One
notices that apart from his mobile face that displays these ever changing emotions, even
his angika abhinaya undergoes a complete metamorphosis from the first half of the

19
dance drama to the second. Even his nadai or his gait, which was once brisk, erect, and
energetic in the first half becomes slow and composed in the second. He displays a mix
of a defeatist attitude and an accepting one with a delicate balance that can be struck
only by an artist as refined, experienced, talented, passionate, and brilliant as him.

20
Chapter 7
My Understandings
1. In Tamil the word Kuravanji is derived from the two words, Kuravan meaning tribe
and Vanji meaning women fortune teller belonging to hilly area.
2. Kuravanji dance dramas combine 3 aspects of Tamil literature Iyal, Isai, Natakam.
Minakshi Ammai Kuram, Draupadi Kuram, Bhavani Kuram were the precursor for
Kuravanji dance dramas. Mixture of Kuram and Kulavanatakam emerged into a
Kuravanji Dance Dramas.
3. There are more than 60 kuravanji written in various languages including Tamil, Telugu,
Malayalam, Marathi, and Gujarathi. It may be noticed many poets and authors
belonging to few courts have written in praise of Kings, Nayaks, and the Zamindars.
4. Kannapar Kuravanjiis was composed by Navalar of Tozhuvur in 1880. It is in the
PannKeerthanam Style used for Kathakalashepam and dance drama. The composer has
interspersed prose speeches with Viruttam, Agaval, and Venba giving it in a Keertanam
format. Our Papanasam Sivan with assistance from Turaiyur Rajagopala Sarma has set
music to this dance drama suitable for dance choreography.
5. Kannapar theme has the main philosophical idea of a dance drama and she chose it
intending to bring out its values. The selection of these values to express them optimally
is termed 'treatment'. This is the most important element of any production.
6. As far as selecting dance drama are concerned it should be chosen with the audience in
mind and should not be chosen to showcase the talents of the director or the actors.
7. In a well-constructed play, each character serves several functions, and one character
dominates. Called the 'protagonist', this character is usually one around whom the plot
revolves and is often the key to the interpretation. Here Rukmini Devi has given
Importance to characters which are interpreted in a way that makes them dynamic.
8. An actor's approach to characterisation is the key to giving life to the character one
plays. One must empathise completely with the character's psyche. Like the character
of the meek hunter which is eye catching on the humor side.
9. Rukmini Devi’s stage decoration is a very mesmerising one. She strongly believes that
the background scenery should conform to the style of the play and contribute as a prop
to the plot. Most often, the scenery reveals to the audience the place, time, etc. as soon
as the curtain opens. The setting therefore must be correct as it helps the audience
understand the play.

21
10. Much freedom was given to the artist by Rukmini Devi to bring the best out of one
character. For example, when tears rolled down the cheeks of the hunter Thinnapaa
(Kannapa) as Balagopal sir sees a pair of doves in love and refrained from shooting
them is a vintage ‘Balagopal movement’. These were not choreographed; they were
some of his many personal artistic touches that enhanced Rukmini Devi’s picturisation.
It is to Balagopal sir’s creativity to show his abhinaya. He rolled his eyes in a manner
that tears would pour down his face which is every artist must have this thought while
performing or choreographing.
11. When we see the Nagaraja pravesha procession in Gambeera Natai with unusual
sollukattus. Dim dim dim dim dimi dimi dim dim dimi dimi dim inbetween the song
“koluv irundanare “
12. Conversation sequence between Nagaraj and Devaratti we have songs interspersed with
sollukattu, one imagines why sollukattu between the conversation sequence, the reason
could be since Rukmini was inspired by the Bhagavatha mela tradition. In the
Bhagavatha mela tradition they have sollukattus interspersed with lyrics. The same
format has been given to the conversation between Nagaraj and Devarati. A small
korvai tha ta jam tat tari ta ta dimitha dit ta
13. Rukmini Devi athai has given attention to the tribal accent trained Nagaraja for his
dialogue delivery. This shows that all aspects of dance drama have been given a lot of
importance to bring in the originality of kuravanji drama with a Midas touch of
Kalashetra. We can say that a lot of thought has gone to showcase the tradition, culture,
and beauty of Kuravan and Kurathi.
14. We see a lot of mutual respect between Rukmini Athai and Shri. Papanasam Sivan. He
had given a fast tempo in Kedar for the Patra Pravesha of Thinnar upon the request
from Rukamani Devi he had immediately accepted her idea and changed the entry to
slow tempo in Mayamalavagowla raaga which is a highlight. One can learn that all of
them were working on a production and with ekagratha worked to establish a dance
drama with a kuravanji genre.
15. The stage devised in an apron and two side opening for exploring different kinds of
vertical and horizontal spaces are part of the big theatre on the campus. Everything is
designed for drawing the rasikas to participate in the art experience. The lighting
underscores the dialogue and mood.
16. Rukmini Devi has amazing creativity in angika abinaya which has been a challenge to
the performer. She draws inspiration from originality, nature. The “energizing the body
22
 with feeling and imagination” is this angika that makes the dance-drama appear new
each time one sees it.
17. Rukmini Devi used space in such a way that at no time was anyone dancer covering
another. They were everywhere but never dashing against each other. One can find a
lot of asymmetries in her groupings. The entire formation became a larger body but
remained a single entity.
18. The designing costumes had a flow giving them movement as the dancers moved and
avoided tight-fitting clothes. Female dancers avoid nattu (nose ring) as Rukmini Devi
feels that it would block or conceal the expressions.
19. She has a unique ability to choose and pick the right dancers. All characters, even
leading ones, she thought the character should be integrated into the play as a whole.
She thinks that understanding the functions of a character is important in interpreting
that character. As Balagopal sir was short, Rukmini Devi was asked why she had chosen
such a short dancer for the role of Kannapar as the character was known as someone of
majestic form. Her simple reply was, “Majesty is an internal state”. Adding, “I have
understood Balagopal and I know he can portray (the role).” The rest, as they say, is
history!
20. Usually, the moment one thinks of a Hunter is a gigantic figure with a good body but,
Rukmini Devi had Balagopal sir in her mind while casting to which Balagopal sir has
left no stone unturned in his performance, even today we see the same casting idea has
been followed.
21. Rukmini Devi said of him that the small man could "fill the stage with his presence and
make everything else seem puny." His life lessons teach us that any character to be
portrayed needs seriousness and studied thoroughly to know both its positive and
negative aspects. One must take it as a sadhana one must live the character during
waking hours, meditating on them and visualizing them, even dreaming of them after
falling asleep. Then the performance will be a crowning glory as Balagopal sir has won
for the different characters he played in the Kalashetra productions.
22. The hunting scene was choreographed with the assistance of Aacan Chandra Panikar a
pure nritta piece. How Tinnapar reached the temple while other hunters reached in
different places, one can see the imagination and choreography. Showing other hunters
are distracted and Thinnar is the one who was led to the temple gopuram. The point is
here that Tinnan was attracted to the Lord just like a Magnet. Magnet has the property

23
 to transform iron to magnetic same way Lord Siva attracts Tinnar and transforms him
and makes one with him.
23. The relation between dance and expression there is a divide now between pure dance -
only dancing - and dance which incorporates mime or verbal syllables. This kuravanji
is a traditional dance consisting of speech, physical actions, costumes, and make-up. It
is an enactment of a dramatic work through movement.
24. As far as choreography and imagination of Rukmini Devi have brought very clearly the
quality Thinnar as hunter and Bhakta’s quality. Hunter transforming to a Bhakta. Bow
and Arrow which is a tool in a hunter's hand get withered away when he transforms as
a bhakta is so evident in choreography that stands in the audience's view.
25. Another point of ch1oreography highlighted throughout is that Thinnar is a hunter who
does not know how to dance or sing his transformation makes him dance as soon he
sees Lord Siva this is because Tinnar has attained the aananda nila due to
transformation.
26. Bharatanatyam is but a visualized form of music, is the underlying concept found in the
traditional compositions. These dance dramas have been handed down through
generations of great artists. What is the unique quality of these musical–dance treasures
of Kalashetra.
27. The tala framework was never exploited to music for choreographing pure danced
sections, keeping in mind the great importance of music and its link to the beauty of
arrangement of adavu patterns, all resulting in a smooth flow of visual poetry.
28. We shall appreciate the loyalty for those who strictly follow the deep nuances of a
Sampradaya as handed down by the great masters of this art, maintain it with the same
integrity, remain steadfast, and not compromise to suit the need of the hour. What is
the problem in preserving the paataantharam as given by Rukmini Devi.
29. She had an eye for color. She had an eye for everything. Even for the stage decoration,
a simple stool was transformed into a throne under her artistic direction. She maintained
simplicity and elegance in everything. In angikam, vachikam, aharyam and abhinayam,
whatever applied in daily life, how to speak and behave, extended to the stage.
According to her, the learning and refinement starts in daily personal life, which gets
converted onto stage persona. Know yourself first and you can transform yourself. She
wanted everyone to be an ambassador of Kalakshetra, to be a sincere citizen. Everyone
admired her and followed her values. Being with Rukmini Devi, no one failed in their
achievements. Everyone associated with her is enjoying the fruits of their lives.
24
30. The beautiful patchwork curtain in earthy tones at the Bharata Kalashetra auditorium is
creative and aesthetic, so too is their choreography.
31. The gigantic forest backdrop in the first half and an equally gigantic Siva linga in the
second half of the dance drama, the simple movements and dialogue, the
straightforward role-play, and the mood – enchanting melodies, both classical and folk.

25
CONCLUSION
Illustrative of the highest degree of devotion and faith that was evinced by the Bhakta towards
Lord Shiva, even though he was a hunter by caste and never cared for the rituals and austerities
by which the Lord should be worshipped. It was only mere love and intense devotion to the
Lord that bestowed on him the greatest boon from the Lord, i.e., Self-realisation. It is only a
matter of six days that he performed the Puja ceremonies to the Lord in his own way, but the
amount of devotion and love he had to the Lord, was boundless.

Though he was a hunter and carried on hunting as his Dharma, Tinnanar was full of love and
would not kill young ones, females, diseased animals, etc. Spiritually, he had already killed the
animals within himself, viz., lust, anger, greed, vanity, etc.

प ं पु ं फलं तोयं यो मे भ ा य ित।

तदहं भ ुप तम ािम यता नः ।।9.26।। from bhagavad gita

May the blessings of Kannappar be upon all of us! May you all attain the highest goal of
human life by following the example of Kannappa Nayanar, the great South Indian Bhakta of
Lord Shiva.

26
Interesting initiative:
“Take up the Green cause”: Kalakshetra has demonstrated the scope for creating an artificial
forest with a wide variety of flora and fauna – Tamil Nadu

A Tamil couplet from Kannappar Kuravanji of Thozuvoor Markanda Naavalar

I meditate on the divine forces of the wilderness,

to whom the forest rituals are offered.

O Mannaru Saami, O Mother Maari,

Chamundi, Irulan, Sangile Karuppan –
Your though delights me.

Quoted from Pidhana – The Canopy of Life (Chennai, 2014, ISBN: 978-81-921627-3-7).
This richly illustrated publication tells the story of the trees found in the 99acre
campus of Kalakshetra Foundation.

27
 Bibliography
https://www.jstor.org/stable/41152521?seq=1
Vol. 4, No. 2 (Summer 1970), pp. 110-119 (10 pages)
Published By: Comparative Drama
‘Bharatanatyam: Indian Classical Dance,’ Dr. Sunil Kothari, Marg Publications, 1997
https://www.india-seminar.com/2015/676/676_lakshmi_viswanathan.htm , a Seminar, WHY
DANCE? a symposium on the multiple trajectories of Indian dance traditions
https://narthaki.com/info/sh/sh11.html, Dance Drama, May 7, 2014, Seen and Heard by
Lakshmi Vishwanathan.
https://narthaki.com/info/sh/sh23.html, Memory recall - Papanasam Sivan, October 6, 2015
https://snarepository.nvli.in/bitstream/123456789/2586/1/JSNA%2812%2940-49.pdf
https://archive.org/details/dni.ncaa.KF-K0045-MDV
Kalashetra – Rukmini Arundale, Reminiscences by S. Sarada
https://shaivam.org/devotees/the-history-of-kannappa-nayanar
https://en.wikipedia.org/wiki/Kannappa
https://www.sahapedia.org/kalakshetra-training
https://openthemagazine.com/art-culture/dance/ck-balagopalan-1939-2019..
https://anindianart.blogspot.com/2008/08/s-sarada-dance-scholar-and

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 PLATES

PLATE 1: Entry Scene of Nagaraja paatra Pravesha

PLATE 2:Tattai Patra Pravesha

29
PLATE 3: Nagaraj, Thathai, Devarati and other tribal people with colourful costumes and
jewellery

PLATE 4: When the soothsayer performed a puja (‘Malayaala Bhagavathi’), the tribals
gathered around in attention. Some followed the Devaratti’s worship, while others kept rhythm
with a small drum or with anklets.

30
PLATE 5: A scene depicting paatra pravesham of Thinnan

PLATE 6: Tribal dancers dancing kummi on the coronation of Thinnapar as king

31
PLATE 7: Lighting and screen beauty of forest when the tribal set out for hunting

PLATE 8: The newly anointed king instructs his men as to how they should camouflage
themselves and move stealthily to hunt tigers and yaalis

32
PLATE 9: Nagarajan is being informed by his minister Nanan that his crowned prince Thinnan
is transfixed the spire of the Kalahasti temple

PLATE 10: Thinnan embraces lord and says he feels as though he has met his long lost friend

33
PLATE 11: The Brahmin priest bemoans that the sanctity of the temple has been lost, shocked,
seeing those pieces of meat lying around the linga

PLATE 12: Believing the Lord’s eye to be bleeding, Thinnapar gouges out his own eye.
34
PLATE 13: Thinnan placing his great toe on the linga to mark the spot of the bleeding second
eye.

PLATE 14: Kannapa is stopped by Lord shiva as he tries to remove his second eye

35
PLATE 15: Lord Shiva is deeply moved by Kannapar’s devotion.

36