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| The transition from temples to auditorium |
 This dance form was patronised by the kings. Many cultural changes accompanied the advent of British rule and the kings lost their place of importance that they enjoyed. The practitioners of this dance form - then known as Sadhir - were dependent upon the kings only for their survival, since this art has now come out from the well protected walls of temples. This caused considerable concern to E. Krishna Iyer who feared that within no time this performing art would perish, as there were no practitioners and the practitioners had no other way of survival, excepting the patronage of kings.
Krishna Iyer was born in the Tirunelveli District in the year 1897. He lived till he was 71 and died in the year 1968. He learnt this dance form himself and performed before audience in the costume and makeup of a woman. It was only after Krishna Iyer started giving public performances that the grain of desire sprouted in women belonging to communities other than Devadasis, to learn and practice this performing art. The foremost among such women who learnt, practised, nurtured and popularised it was Rukmini Devi of Kalakshetra.
 The Natya which was originally practised and performed with bhakti as its main theme was slowly moving in other directions such as love, romance et al. Rukmini Devi took efforts to take it back to its point of origin, bhakti or devotion and wove her themes around the Lord.
Before Rukmini Devi came into the scene, there was a pretty strange habit among the dancers and their teams. The singer, the percussion artiste, nattuvanaars used to walk alongside the dancer as she performed. They would walk with her back and forth, as she danced. Rukmini Devi changed this practice and apportioned the right corner of the stage for them to sit and render their support performance. This was an important change in the evolution of the art.
Krishangini - Neeraja Nagarajan
Translated by Hari Krishnan
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