In the realm of classical dance, the name Abdul Manaf might not ring a bell. However, ‘Manu maash’, (master) as he is fondly called, has been captivating and inspiring art lovers with the graceful, fluid azhaku (beauty) of Bharatanatyam that he mastered over the years through numerous journeys and extensive research.
Born in Koolimuttam, a coastal village in Thrissur, Manu maash was first drawn to the world of performance at the age of nine after he watched a local “cycle yajnam” or bicycle acrobatics show. “The troupe used to perform a specific type of folk dance; this was the only dance form I knew back then,” he recalls.
“My elder brother-in-law’s interest in kathakali and katcheris (Carnatic music concerts) also influenced me. He used to take me along to shows.” Subsequently, young Abdul developed a growing interest in classical dance. “Near my sister’s place, bharatanatyam trainer Paravur T K Surendran used to conduct dance classes for children. When I heard the music and thalams, I would peek from the compound wall to catch a glimpse of students performing,” Manu maash reminisces.
“One day, the teacher caught me peeking. He encouraged me to join if I was interested. That’s how I took my first step in bharatanatyam.” Wearing a kaavi mundu, with a shawl around his shoulders, Manu maash says bharatanatyam transcended beyond the horizons of art at his abode in Elamakkara, Ernakulam.
He adds that there was a time when pursuing a temple art form led to disagreements within his extended family. “However, my religious identity did not hinder my training under veterans such as V S Muthuswami Pillai, Kalaimamani K J Sarasa, Adayar K Lakshmanan and Guru Chitra Visweswaran,” says the 68-year-old, smiling as he moves his fingers through his long, silver beard.
Over time, the transition from Abdul Manaf to Manu maash sparked speculation about his conversion to Hinduism. “The spiritual path I follow is a personal choice. Bharatanatyam has a rich culture, and before delving into the temple classical dance form, understanding the culture is crucial,” he says. “I haven’t embraced any other religious beliefs or changed my name. Manu is short for Manaf; I’ve been called Manu by my family since a young age. It’s disheartening to hear people spread rumours.”
A transformative journey
At the age of 20, Manu maash bid farewell to his hometown and travelled to Tamil Nadu to delve deeper into bharatanatyam at its place of origin. “During this time, I met Guru Chitra Visweswaran; it was a turning point in my life. She showed me how the body mirrored the entire universe and how specific postures conveyed the ‘Maha Mantras’,” Manu maash recalls, exuding the aura of a spiritual guru.
He adds that he had been drawn to kathakali and mohiniyattam as well. “I did attend some classes, but my heart remained devoted to bharatanatyam. The dance’s linear movements, symmetrical form, and the way it demands precise hand-foot coordination enhance the beauty of bharatanatyam, which is also known as Sadir attam in Tamil,” says Manu maash, gesturing hastas and foot postures to illustrate the symmetrical movement.
Reviving lost tradition
Guru Chithra Visweswaran’s view of bharatanatyam as a dance form with diverse styles inspired Manumaash to go beyond his training. “I don’t believe there’s only one style or that the reformed style practised today is final and absolute form,” he asserts.
“There were various traditional styles prevalent in the south about 1,000 years ago. Some still practise them. Just because certain elements were lost over time — especially during the British rule when bharatanatyam was banned — it doesn’t mean reinterpreting them is wrong. I have been striving to revive those styles.”
Over the years, Manu has explored various bharatanatyam styles, visiting ancient temples in Tamil Nadu and south Karnataka and referring to intricately carved sculptures, some of them dating back at least a millennium.
“My aim isn’t to revolutionise bharatanatyam,” Manu maash clarifies. “These sculptures depict several styles and showcase the bhangaas and bhangis (curved postures) that deserve attention. I am simply exploring and highlighting what was once prevalent.”
Manu maash’s exploration took him to places like Halebeedu, Belur, and Doddaguli village in Karnatwaka. The Chennakeshava, Hoysaleswara, Lakshmi Devi temples had a profound effect on him. “In the past, Karnataka had six classical styles, but only four remain relevant today – Mysore, Mugur, Nanjangud and Kolar,” he notes.
“The temples built during the Hoysala and Kakatiya dynasties boast remarkable sculptural craftsmanship. The sculptors of that era likely referenced specific dancers’ styles, meticulously capturing the grace of their movements in stone. This demonstrates the impressive technical excellence of dancers in those times.”
For Manu maash, this journey entails more than just learning diverse dance styles. He also seeks out individuals who continue to train in specific dance forms. Dasappa Kesava, Padma Bhushan Dr K Venkatalakshamma, Padhmini Sreedhar, Dr Mala Shasikanth are some. “I am documenting this journey of exploration. In doing so, I am showcasing these practitioners and their dance styles to the wider world,” he says.
Taking on criticism
Reviving long-forgotten dance styles has not been without its critics, Manu maash acknowledges. “Some claim that what I teach isn’t correct. Some get irritated by the symmetrical dance movements of yore,” he says. “What I have learned is that more people are focused on introducing new forms, rather than delving into the old ones. Take, for instance, the iconic Nataraja pose.
The version commonly seen today was established during the Chola dynasty’s reign. However, during the Hoysala dynasty, it was a different posture. That said, there are many types of Nataraja postures. Who can definitively say which is the correct one? There’s no absolute right or wrong here.”
Manu maash is selective about the students he trains, having been instructing a carefully chosen group for some time. “I don’t train those who are focused on competitions. I teach those who are willing to wholeheartedly dedicate themselves to the art form,” he says. “Through my classes, I aim to encourage them to break free from conventional styles and explore the vast potential of bharatanatyam.”