F. G. Natesa Iyer

F.G. Natesa Iyer
Born November 11, 1880
Pudukottai, Tamilnadu
Died January 23, 1963
Bhopal, Madhya Pradesh
Nationality Indian
Occupation Indian National Congress leader from South India, District Traffic Superindent of South Indian Railway, founder of Rasika Ranjana Sabha in Trichinopoly, talent scout for Carnatic music and Tamil drama and Tamil cinema
Known for Founder of pioneering Tamil and Shakespearean theatre group Rasika Ranjana Sabha in Trichinopoly. Leader from Trichinopoly for Indian National Congress during the years of World War one. One of the first Indians to become an officer in South Indian railways, retiring as District Traffic Superintendent. Talent scout,responsible for unearthing and actively promoting some of the superstars of Tamil cinema and Carnatic music

F. G. Natesa Iyer was an Indian activist in the Indian National Congress during the Indian independence movement. He was also one of the pioneers of modern Tamil drama and Tamil cinema. He was a talent scout who recognized merit and promoted many youngsters, who went on to become great performers in Carnatic music

Early life and background

Natesa Iyer was born on 11 November 1880, to Janakiammaiyar Sastri (Pudukkotamma) and Gangadhara Shastri: who was the legal advisor to the then Pudukkottai state, a Princely state in the Indian subcontinent under the British colonial rule. Iyer's elder brother was Rao Saheb G. Ganapati Sastriar who went on to hold the position of Dewan of the Pudukottai state. Iyer's love for music and theatre made him run away from home at the age of ten, to join the railways as a clerk in the Madura and Tinnevelly - Quilon Railways construction department.[1]

In an article written by his grandson, it is claimed that as a child, " He took shelter with Englishmen who brought him up and converted him to Christianity. Twenty years later, dissatisfied with the ability of the priests to clarify his doubts, he met the Kanchi Shankaracharya, and, getting satisfactory answers from him, reconverted to Hinduism." .[2] The Shankaracharya referred to was Paramacharya Chandrashekarendra Saraswati.[3] It is recorded in a conversation he had in June 1923, that based on his twenty years of experience and knowledge on the Christian religion, "the Hindu religion was our mother and it was not appropriate to abandon your mother." Iyer also is reported to have stated that he was unfortunate to have committed such a sin, but realized his folly in time and he did notlike to see anyone else commit the same mistake. [4]

Public career

Iyer spent much of his formal career as a railway officer with the South Indian Railway Company (S. I. R). He retired as a District Traffic Superintendent in 1935, the first Indian to occupy this position. The company was incorporated in England, with the stocks and shares quoted on the London Stock Exchange. South Indian Railway had its administrative headquarters at Tiruchirappalli. Iyer built his house in Tiruchirappalli and spent much of his life in this city.

Iyer was a member of the Indian Congress party and represented the city as a delegate to the annual Indian National Congress sessions during the years of the World War I.He joined the Indian National Congressin the year 1914, and was a delegate at the sessions in Bombay (1915), Lucknow (1916), and Madras (1917). In the Lucknow session he was a member of Subjects Committee and took part in the discussion on the Congress - Indian Muslim League scheme of reforms. At its Madras session in 1917, he was a delegate from Trichinopoly, an elected member of the All India Congress Committee,a member of the Subjects Committee and had the honour of moving the resolution on indentured labour at the open sessions. He was a supporter of the Indian Home Rule Movement of those years and a party to the passive resistance resolution passed at the Madras Provincial Conference following the internment of Mrs.Annie Besant and George Arundale and B. P. Wadia.

Iyer was the district commissioner of the Boy Scouts Association in India in 1922. In this capacity he was presented to the then Prince of Wales (later Edward VIII) at the World Scout Jamboree held at Madras.[5]

He was elected councillor of Trichnopoly Municipal Council for a number of years and was the Chairman during 1923-25 .[6][7] A research paper on Tamil revivalism in the 1930s, described Iyer as a leader of importance, who had been "an autocratic but effective chairman of the Trichnopoly municipality in the 1920s".[8]

His notability in those years between the two world wars could perhaps be assessed by his appearance in the "Who's who in Madras Presidency" in 1937.[9]

He continued to take some interest commenting on the Indian Congress politics in the city till the 1950s.[10]

He was very close to Hindu religious saints like Chandrashekarendra Saraswati. The Indian National Congress, in the decade of the 1920s, started organising the Non-Cooperation Movement, which involved getting many people to protest on the streets. F.G.Natesa Iyer, the leading Congress activist of Tiruchirappalli then, as also the elected Mayor, took this opportunity to convert the movement to also show support for the Chandrashekarendra Saraswati. He described the occasion, thus: "I was nominated by the public as the chairman of the Reception committee for arranging a reception for the Acharya of Sri Kanchi Kamakoti Peetam. As the municipal chairman , it was my duty to provide a proper welcome and respect to Swamigal who was visiting after a long time. The opportunity to welcome His Holiness in a manner that was exponentially greater than receptions given to kings and viceroys, was accorded to me, along my with supporters Sri MKandaswamy Servai, lawyer Sri. R.Srinivasa Iyengar and the larger public. The procession that was seven miles long, was preceded by seven groups of nadaswaram players, three band groups, four elephants, many horses and camels, instrumental players, Bhajan singers, Seva Samitis. I had the blessing to hold the front side of the ivory palanquin where our guru for the whole world , Sri Sankaracharya Swamigal was seated. He gave darshan to numerous people lined on both sides of the roads, in every floor, irrespective of their religion, caste or creed. There was no count of arathis, Poorna kumbams, garlands, asthika goshams. The procession that started at 6 pm ended at 10 pm in front of the mutt at Thiruvanaikaval. I was enthralled in my service to Swamigal as service to Lord Shiva himself".[11]

[12] Iyer also appears to have had a good rapport with Ramana Maharshi and his ashram.[13][14] Iyer had written a concept paper for an academy of dance, drama and music, presented at the All India Oriental Conference (Hyderabad session); in the pre independence days.[5] This seems to be one of the precursory inputs to the Sangeet Natak Akademi: which has as its English name, The National Academy for Music, Dance and Drama.

Theatre

Iyer is credited with being the founder of an amateur theater group, Rasika Ranjana Sabha,in Tiruchirappalli in 1914. .[15] The Rasika Ranjana Sabha has been historically classified along with the Madras based Suguna Vilasa Sabha, the Kumbakonam based Vani Vilas Sabha and Thanjavur based Sudarshan Sabha - for encouraging native "histrionic talent" in the Madras Presidency, during the times when the British Raj ruled.[16] There exists some records, on the English plays staged by the Rasika Ranjana Sabha. In 1915 at the Trichinopoly Collector’s bungalow, Sheridan’s play ‘Pizzaro’ was enacted in aid of the Ladies’ War Fund. The predominantly British audience were stated to have been amazed at the excellent diction of the all Tamil cast. In 1918, two plays were staged as part of the peace celebrations organised by the Carnatic Infantry. In 1918, “At Home” was given to Mr. Blackstone, Deputy Superintendent of Police and the same drama troupe presented a few plays. [17] Iyer specialised in Shakespearean roles like those of Hamlet, and Othello.[18] He was also famous for his production, and acting in Tamil social and mythological plays. In a recent foundation day celebration of the RR Sabha, he was hailed the "Father of modern Tamil dramas".[19] There is a version that he organised the first ever public concert of M. S. Subbulakshmi, when she was eleven years of age: in the 100 pillar hall inside the Rockfort Temple, Tiruchirappalli; with Mysore Chowdiah on the violin and Dakshinamurthy Pillai on the mridanga.[20] Actors like T.K.S. Brothers, M. G. Ramachandran, M. R. Radha and M. K. Radha in the starting days of their career, have been documented to have looked up to Iyer as their ideal, and sought his help in furthering their talents and prospects. It is reported that the TKS brothers got their first big break in the world of theatre - through Natesa Iyer casting them in the roles of Lava and Kusha, in a similarly named play produced and staged by Rasika Ranjana Sabha.[21][22]

Talent spotting

Iyer is credited with spotting the talent of the first "superstar of South Indian cinema", M. K. Thyagaraja Bhagavathar. One story is that he heard the young boy, Thyagaja singing at a bhajan. Impressed with his talent, Iyer offered him the role of "Lohitadasa" in his play Harischandra; with the permission of Thyagaraja's father. Thyagaraja, who was ten at the time, agreed, and the play was a success. Through Rasika Ranjana Sabha, he also started getting trained under the guidance of theater veterans at that time in Trichy.[23] Some stories also attribute him to have spotted the talent of K. B. Sundarambal; who as a child, earned her living through begging and singing in railway trains, for alms and copper coins around Trichy.[24] There are also stories that Iyer organised the first ever public concert of M.S. Subbulakshmi. This was apparently in 1927, when Subbulaxmi was eleven years old. The performance was arranged in the 100 pillar hall inside theRockfort Temple, Tiruchirappalli; with Mysore Chowdiah on the violin and Dakshinamurthy Pillai on the mriganga.[25] An article on Natesa Iyer claimed that well known Carnatic artistes like "Marungapuri Gopalakrishna Iyer, Musiri, Madurai Mani, Palghat Mani, and Semmangudi, owed much to him for their success in their early careers".

.[26]

Seva Sadanam

Iyer acted in one Tamil movie Seva Sadanam.This movie was directed by K. Subramanyam in the year 1938. Seva Sadanam was an adaptation of Bazaar-e-Husn, a novel written by Premchand. Iyer played the lead role of "Eashwara Iyer", opposite M. S. Subbulakshmi who starred in the movie as "Sumathi". This was M.S.Subbulakshmi's debut to the world of cinema. The film became famous for its social reform agenda. The veteran Marxist leader N. Sankaraiah described Seva Sadhanam as an "unusual film" for choosing the subject of marriages between young girls and old men (which had social sanction). According to him, the film successfully brought out the "sufferings of the girl" and the "mental agony of the aged husband". Sankariah particularly appreciated Iyer's performance in the role of the old man, which he said " was impressive".[27]

In one sequence, Iyer is struck with remorse and throws away in sheer disgust his Yagnopaveetham; the sacred threads a Brahmin wears as an iconic symbol of his faith and community.[28]

Death and legacy

Iyer died at the house of his daughter Tirupurasundari at Bhopal, in January 1963. His body was cremated at Ram Ghat in the Bhopal Lake with military honours.

Iyer's role as Eashwar Iyer, the aged husband to the young Sumathi, played by M. S. Subbulakshmi in the Tamil movie Sevasadanam has been stated to be " a turning point in the history of Tamil cinema. In the climax, the aged husband, now a totally changed man, was shown as casting aside with utter contempt his `sacred thread', which symbolises his Brahmin superiority. It came as a stunning blow to the then Brahmin orthodoxy"[27](in pre independent South India, which was socially dominated by the Brahmin community).

The precocious child talent he unearthed and shaped through Rasika Ranjana Sabha; like M. K. Thyagaraja Bhagavathar[29] and K. B. Sundarambal; turned out to be the first superstars of Tamil cinema. He is credited with providing the first break for public performances, for well known artistes like M. S. Subbulakshmi and TKS Brothers, when they were yet adolescents. His name has been associated with promoting concert talent in Carnatic music; of what would become some of the well names of the twentieth century - Marungapuri Gopalakrishna Iyer, Musiri Subramania Iyer,[30] Madurai Mani Iyer, Palghat Mani Iyer,and Semmangudi Srinivasa Iyer.

The Rasika Ranjana Sabha, which he founded in Tiruchirappalli, and into which he poured much of his wealth continues to exist. The Sabha got an award for the best Sabha in mofussil centre in 2011-12. This award was given by the leading social worker Sarojini Varadappan: in her capacity as Chairperson of the Mylapore Academy- for staging the maximum number of dramas in the entire state of Tamil nadu for the year 2011-12.[31] The Sabha organises a special function on Iyer's birth anniversary; to honor well known personalities in the field of music, dance and culture.[32] In the foundation day ceremony of 2011,he was hailed as the "Father of modern Tamil dramas".[33] Veteran Tamil theater actors credit Rasika Ranjana Sabha, for ensuring the survival of the Tamil theater art form, in the 21st century, amidst competition from television and cinema.[34]

The RR Sabha has been conducting music competitions since 1984 to encourage students learning both vocal and instrumental music. The Sabha has been conferring the coveted title “SANGEETHA SRI” to the outstanding competitor in senior age group from 1991 onwards.[35] Some of the present frontline performers of Carnatic music would have been given this award in the starting days of their career. Mr. A. Natarajan, former Chennai station Director of Doordarshan observed in a function at the Sabha in 2008, that "RR Sabha had been supporting aspiring singers in tier II cities and providing a chance to the music-lovers of the city to attend the concerts of ace musicians."[36]

References

  1. ↑ F.G. Natesa Iyer [330] - $.5.00 : Sruti, A Monthly Magazine on Indian Performing Arts
  2. ↑ T.S.Mani (April 1–15, 2012). "FGN – actor and patron of the arts". Madras Musings (Volume XXI, number 24).
  3. ↑ Sastri, S.Sambamurthy. Paramacharya: Life of Sri Chandrasekharendra Saraswathi of Sri Kanchi Kamakoti Peetam : Originally Written in Tamil Under the Title Sri Jagadguru Divya Charitram (1991 ed.). Kanchipuram: Jana Kalyan. p. 31.
  4. ↑ "Converter convinced not to convert". Sri Ayyappa Bhajanai Sangham. Retrieved 2013-04-24.
  5. ↑ 5.0 5.1 http://www.krishnaganasabha.org/articles/2002-2003/The%20Dramatic%20Art%20by%20F.G.%20Natesa%20Iyer.pdf
  6. ↑ Menon, Kumara Padmanabha Sivasankara (1965). Many worlds: an autobiography. Oxford University Press.
  7. ↑ Eugene F, Irschick (1986). Tamil revivalism in the 1930s. Cre-A.
  8. ↑ Irschick, Eugene F. Tamil revivalism in the 1930s (1986 ed.). Cre-A,. p. 194.
  9. ↑ The Who's who in Madras: ... A Pictorial Who's who of Distinguished Personages, Princes, Zemindars and Noblemen in the Madras Presidency. , Issue 9 (1937 ed.). Pearl Press.
  10. ↑ The Hindu : dated September 25, 1951: George VI undergoes surgery
  11. ↑ T.K.Balasubramaia Iyer (May 10, 1923). "Editorial". The Hindu. Never before in the annals of Tiruchirapalli have we witnessed te grandeur and enthusiasm that were displayed at the reception of His Holiness Sri Jagadguru Sri Sankaracharya of Kanchi Kamakoti Peetam who arrived at Tiruchirapali on the 23rd ult. The mile long procession headed by richly caparisoned elephants ad surging crowds with His Holiness seated high on the ivory palanquin in the center, surrounded by large concourse of Brahmins chanting the Vedas, and followed by numerous Bhajana parties and Tevaram parties, the rich and tasteful decorations all along te route which eteded to nearly eight miles, the buoyant enthusiasm of the huge crowd that pressed on all sides just to have a glimpse of His Holiness, beaming countenance and that followed the procession right through to the end, the festive appearance of the whole town and the eageress of everyone in that vast concourse of people to do some sort of service to His Holiness were sights for Gods to see and they beggar all description. It showed in a clear and unmistakable way the stronghold of religion and religious ideals still on the people of the country. No Viceroy or even the Emperor himself could have evoked such spontaneous and heartfelt enthusiasm. It took nearly five hours for te procession to reach its destination. His Holiness had a smile or a word of cheer for every one of the assembled people and when he retired into the mutt, His Holiness observed that the weariness of the journey was counteracted by the unprecedented enthusiasm of the people.
  12. ↑ http://www.srikanchimahaswami100.org/SriMahaSwamyCharitram__2__1_edit.pdf
  13. ↑ Sri Ramanasramam Charities (1979). "Mountain Path". Mountain Path (Sri Ramanasramam) 16: 177. Retrieved 3 July 2013.
  14. ↑ Sri Ramanasramam Charities (1983). "Mountain Path". Mountain Path (Sri Ramanasramam) 20: 286. Retrieved 16 July 2013.
  15. ↑ "Tributes to R. R. Sabha founder". The Hindu (India). 12 November 2010. Retrieved 2011-05-29.
  16. ↑ "Sangeet Nataka". Sangeet Natak (Sangeet Natak Akademi) 38. 2004. Retrieved 3 July 2013.
  17. ↑ SUGANTHY KRISHNAMACHARI (30 January 2014). "A century of service". The Hindu. Retrieved 8 April 2014. Tiruchi’s R. R. Sabha, which turns 100 this year, has been fostering the cause of charity and culture.In 1915 at the Trichinopoly Collector’s bungalow, Sheridan’s play ‘Pizzaro’ was enacted in aid of the Ladies’ War Fund. The predominantly British audience was amazed at the excellent diction of the all Tamil cast. In 1918, two plays were staged as part of the peace celebrations organised by the Carnatic Infantry. In 1918, “At Home” was given to Mr. Blackstone, Deputy Superintendent of Police and the same drama troupe presented a few plays. The troupe staged benefit shows to raise funds for the Manicka Vinayakar temple. The theatre enthusiasts, munificent in their contributions to charitable causes, were all members of the Rasika Ranjana Sabha (RRS), Tiruchi. RRS was inaugurated at a meeting held in the Tiruchi Fort Railway Museum, on November 9, 1914, with Kodiyalam Rangaswamy Iyengar as the first president. The membership fee was eight annas per month. To start with, the sabha had 25 members. Within a year, the number increased to 153. Zamindar of Andipatti, Mc.T. Pethachi Chettiar, Dewan Bahadur T. Desikachariar, Advocate, and G.K. Rengil Doss were among the generous donors to the sabha in the early years. The founder members were men of varied talents. S.S. Subramania Iyer, for instance, wrote two songs for the sabha, ‘Gandhi vakyam’ to be sung before the commencement of any programme, and mangalam to mark the conclusion. The first secretary of the sabha, F.G. Natesa Iyer, popularly known as FGN, belonged to the lineage of Appayya Dikshitar, and his grandfather and father were accomplished veena players.
  18. ↑ F.G.Natesa Iyer - Soliloquies from Shakespeare's Plays mp3 download forum music-db.org
  19. ↑ Special correspondent (19 November 2011). "Tribute paid to Natesa Iyer". The Hindu (Chennai, India). M.George, Executive Committee member of the Sabha, recalled late Iyer's contribution to the art of drama and how he himself acted in many of them. He added that Mr.Iyer could be rightly called the ‘Father of Dramas'.
  20. ↑ Sruti magazine cover story on Iyer, page 20, issue number 330,March 2012
  21. ↑ Sruti magazine cover story on Iyer, page 25, issue number 330,March 2012
  22. ↑ http://columbuscarnatic.org/wp-content/uploads/2012/04/fgn.pdf
  23. ↑ S. Sankaranarayanan (March 1–15, 2010). "A legend in his lifetime". Madras Musings (S. Muthiah) 19 (22).
  24. ↑ Biography on Sangeetam.com at the Wayback Machine (archived February 17, 2005)
  25. ↑ SRUTI magazine cover story on F.G.Natesa Iyer, page 25, issue number 330,March 2012
  26. ↑ Mani, T.S. (2012). "FGN – actor and patron of the arts". Madras Musings XX1 (24). Retrieved 6 October 2012.
  27. ↑ 27.0 27.1 Vishwanathan S. "A progressive film maker; Tribute to K.Subramanian, Volume 21 - Issue 14, Jul. 03 - 16, 2004 of Frontline magazine, (brought out by Hindu publications), Chennai, Tamilnadu.
  28. ↑ Guy Randor "Blast from the past, Seva Sadanam 1938, in Cinema Plus of the Hindu, Friday issue Feb. 1, 2008.(brought out by Hindu publications), Chennai, Tamilnadu.
  29. ↑ "Blazing new trails". The Hindu (Chennai, India). 2004-05-02.
  30. ↑ http://www.krishnaganasabha.org/articles/2003-04/My%20Gurunathar%20Musiri%20Subrahmanya%20Iyer%20-%20A%20Music%20Maker%20by%20T.K.%20Govinda%20Rao.pdf
  31. ↑ SYED MUTHAHAR SAQAF (19 July 2012). "Tiruchi, theatre for promoting stage plays". The Hindu (Chennai, India). Mylapore Academy, Chennai, headed by leading social worker Sarojini Varadappan, presented a special award – award for the best Sabha in mofussil centre - to Rasika Ranjana Sabha, Tiruchi, in recognition of its outstanding service for the Tamil theatre. The award in recognition of staging the maximum number of dramas in the entire state (about 40 dramas, including 14 dramas staged by the Sangam) during 2011-12.
  32. ↑ "Tributes to R. R . Sabha founder". The Hindu (Chennai, India). 12 November 2010.
  33. ↑ Special correspondent (19 November 2011). "Tribute paid to Natesa Iyer". The Hindu (Chennai, India). M.George, Executive Committee member of the Sabha, recalled late Iyer's contribution to the art of drama and how he himself acted in many of them. He added that Mr.Iyer could be rightly called the ‘Father of Dramas'.
  34. ↑ Nahla Nainar (August 16, 2013). "All the world is a stage". The Hindu (Chennai, India). “The biggest change I’ve seen in my career as a stage artiste is that there is no demand any more for new plays,” says M S Mohamed Masthan, General Secretary of Tiruchi Mavatta Nataka Nadigargal Sangam...The sense of gloom is hard to dispense with. “The government should take care of the theatre tradition,” says Masthan. “We are surviving here in Tiruchi because of venues like Rasika Ranjana Sabha. Without a proper hall, at least something that is affordable to performers like us, it’s quite difficult to stage a play. The recent 21-day drama festival (organised in July by South Zone Cultural Centre and District Drama Artistes Association) was possible only because we had the backing of R.R. Sabha,” he adds.
  35. ↑ The Hindu : Metro Plus Tiruchirapalli / Events : Music contest
  36. ↑ "Music sabhas nurture talents". The Hindu (India). 18 August 2008. Retrieved 2011-05-29.

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