Aishwarya Rao
I have been feeling disturbed for a while now. When i recount the days happenings to mum every evening she says " you must vent your anger creatively". Here goes the reason for my silence in the past 3 weeks.

Oh! 'the-greatest-loser-around'
You want to be my friend. I want to hide under the table.
You want to look at my watch. I know you are getting touchy.
You kneel to look at my computer screen. You think it is getting sexy. I think your armpits stink.
You want my comments on your dressing sense. A)I am not a fashion diva. B) It is stupid!
You want to know me better. I wish I had never known you in the first place.
You think I look great in red. I want to give you a tight slap and see your face turn red.
You think you are attractive. I think you are wrong.
You give me the creeps when you mention 'informal interactions'.
You stare indecently. I can see it.
You inner thighs itch the moment i walk in. I can almost see it.
You are lewd. I just realized.

Arrrrrgggh! I admit. I admit. Being a woman in a corporate world is difficult. All for the wrong reasons. (*folds fist. bites lips. is pissed*)
Aishwarya Rao

PS: Read previous post to understand author's inspiration.
PPS: The image above is an original work of this author. I have borrowed the man's face from Getty. Any resemblance to any co-worker is bloody intentional.
Aishwarya Rao

Chennai is probably not the only one, but it is definitely most popular for the diametric dance forms it nurtures. On one hand is the classical dance Bharathanatyam and on the other is the korava (nomads) dance Dappankuthu, both enjoying a celebrated status. With its racy and uninhibited style Dappa (Tamil for a tin can) Koothu (feverish celebration) has an authentic Tamil flavor to it. Track back to the song Maana Madurai’ in Minsara Kanavu where Prabu Deva and co. dance to some irresistible Saavu Koothu (funeral dance) beats and that is exactly what I am referring to. In a city like Chennai that is tight rope walking to manage its traffic, crowds in a 'Dappakuthu' frenzy leading a wedding or funeral procession is still a common sight!

A madichukattified (tied so as to reveal thighs) lungi (A garment, usually checked, worn around the torso by South Indian men), a foot-tapping 'Gaana Paatu' (Koothu Song), the rhythmic whistle, occasional steps amidst idupa odachyfying (skewed hip shakes that will put Shakira to shame!), mandatory pelvic thrusts, a beer bottle and a poo malai (garland). For the uninitiated the above are typical characteristics of the Dappankuthu.

And since cinema is a reflection of reality, Kollywood is full of these numbers, thanks to music director Deva who pioneered an entire genre of racy and infectious 'Gaana’ numbers.

My earliest memory of Dappa-Gaana double treat is ‘Lalaku Dol Dabhi Mafrom the movie Suryan and the mesmerizing Rakkama Kaya Thatu from Dalapathi. Add Vasool Raja's 'Seena Thana' to the list and you can come up with certain Dappankuthu standard. Here goes - the leading lady must wear a bust hugging kutti (small) backless blouse (yechuchme, apdina adhu kerchief aache!), an umbrella paavadai (knee length skirt) compulsorily revealing the belly button and one ribbon like duppata loosely swung on her shoulders. We don’t care much about the men except that a kerchief (no we are not taking about the lady's blouse!) must be tied around their necks. What follows is some assal (authentic) koothu, with hip, butt and every other shake that is possible!

Yet another traditional Dappakuthu ritual is including the Holy Lord in the scheme of things. Prabu Deva starrer 'Yappa Yappa Aiyappa' and 'Thirupathi Ezhumale Venkatesa' are classic examples of the secular nature of the dance. While Deva introduced 'Gaana Paatu' in modern Kollywood, Prabu Deva kick-started a whole new generation of Koothu dances with ‘Peta Rap’, ‘Kaathu Adikuthu’ and the much enjoyed ‘Kasu Mela’!

Hold on, while a racy number is only a rule, exceptions to this rule can also be classified as konacham (little) slow koothu. The latest ‘Vazahameen’ (see picture) that took the city by rage is set in a less feverish pace but is absolutely realistic nevertheless. So is Tippu'-sung ‘Kapakalangu with key Dappa Bashai like ‘aithalaka’ which had men and women dancing with folded tongues and performing slow motion Dappa scenes!

A probably more refined form of Dappa was ‘Manmatha Rasa’ where Dhanush danced in an unparalleled frenzy (thala kaal puriyama)! These are modern numbers where the women dressed in trousers (tight blouse remains a constant) give soooper competition to their male leads. Vijay and Simran in 'Aal thota Bhoopathi', Chimbu and Jyothika in 'En Aasai Mythiliye' are probably the much remembered duo Dappa performances! Not to forget the best of them being Vijay and Trisha in 'Apdi Podu' which to date remains the peppiest koothu scene in Kollywood.

Then there are Dappa-Gaana combos like ‘O-Podu’ which surpassed all standards in energy levels! Several Vikram and Vijay starrers like ‘Kalyanam thaan’ and ‘Kai Kai Kai’ come very close yet don’t make it because of the order and coordinated dance movements. Remember, we are talking about Dappankuthu here where there is no restrain, only racy refreshment! Namma Dappankuthu, Semma soooodu machi!!!