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Tamil Poem in Purananuru, circa 500 B.C

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Kalaivanar N.S.Krisnan & T.A.Mathuram - "Like flowing water that smoothens the rocks by the river side, N S Krishnan desired to smoothen the rough edges in society � by living life the way he knew it � with humour and humaneness. Not only in yesteryears, but he holds sway over the hearts of millions even today. His humor has never lost the freshness of appeal - for society is yet to transform."
Feedback from Mathuram Nallathambi, grand daughter of Kalaivanar N S Krishnan
Tamil Nadu 30 July 2009
கலைவாணர் என்.எஸ். கிருஷ்ணன் - Tribute by Tamil Nadu Government
கலைவாணரும், பழைய சோறும்...! - மோகன் காந்தி

Some NSK songs which have stood the test of time...

Theena Muna Kana lyric by Kavi Arasu Kannadasan (This song in the film 'Panam' produced by NSK in 1952 promoted the DMK. At that time the censor board did not allow political propaganda in films. The first line of the song was 'Theenaa Moona Kaana' (Thee Mu Ka) but the next line says 'Thirukkural Munnani Kazhagam'. Again one line says �Pakutharivodu naatinar vaazha Thirukkural thandhaar Periyaar�, and the next line says � Thiruvalluvar periyaar�! The song ends with the line 'Thee Mu Ka'.

kaNNE unnaal naanadaiyum kavalai konjamaa

vignaanaththai vaLakkap pOrEndi NSK with T.A.Mathuram

vignaanaththai vaLarkkap pOrEndi
thEnaandaaLai virundhuk kazhaichchuk kaattap pOrEndi
ponjaathi purushan illaama
puLLaiyum kuttiyum porakkuraappule (vignaanaththai)

agnaanaththai azhikkap pOrEndi
aNu sakthiyaale aayuL viruththi paNNap pOrEndi
(aduththa naattuk kaaran pOla
aaLaik kollaama, oorai paazhu paNNaama)

adhu mattumaa?
punjai nelaththu paruththi chediyil
podavai ravikkai vEtti kaaikka
kai thiramaiyai kaattap pOrEndi
oru kaviyaip paadi
kaaththum mazhaiyum thaakkap pOrEndi

T.A.Mathuram asks:

nellu kuththa maavaRaikka neer eraikka machinu
allum pagalum arisi araikka adhukkoru machinu
oNNai marandhuttEn
button-ai thatti vittaa rendu thattile
ittiliyum kaappi namma pakkaththil vandhidaNum

kattilukku mElE fan kaaththai suththONum
kaalam kaattum karuviyum vENum

NSK responds:

adi paiththiyam!
namma naattile
veettu vElai senja pomma naattiyaip paaru
mEnaattu naagareegam koNda mEniyaip paaru

ava kaattukkup pOvaa
kaLai eduppaa
kaariyam paappa
kanji kudippaa!

iva car-lle pOvaa
ooraich chuththuvaa
kaNNaadi paappaa
kaappi kudippaa!!

Obituary in the Hindu, 31 August 1957 - "We record with regret the passing away of Mr. N.S. Krishnan, eminent comedian of the Tamil screen, on August 30. He died at the General Hospital, Madras, where he had been undergoing treatment for hepatitis since August 12. He was 48. For long years Mr. Krishnan held the field as the chief humorist of the South Indian screen. His work had in it the touch of a genius. His humour was ebullient, rich, sometimes edged with sarcasm but never with bitterness, always meaningful, for Krishnan the comedian was twin-brother to Krishnan the moralist and motley was only a disguise this fine artist threw over his self-chosen mission as propagandist for a better order. All progressive ideas, prohibition and constructive work for the development of the nation among them, had his support. His �Fifty and Sixty� was as fine a conception of a bright future for the country as any placed before us by politicians. He and Smt. Mathuram together pleaded in hundreds of reels of celluloid for a proper status in society for women. He visited Russia as member of a cultural delegation in 1951. "
Selected Films....
As Actor

Ambikapathy (1937)
Uththama Puththiran (1940)
Sakunthalai (1940)
Ashok Kumar (1941)
Chandralekha (1948)
Nallathambi (1949)
Manamagal (1951)
Rangoon Radha (1956)
Madurai Veeran (1956)

As Director

Panam (1952) - Dialogues by M Karunanidhi
Manamagal (1951) - Dialogues by M Karunanidhi
Pelli Koothuru (1951)

N.S.Krishnan at Wikpedia
Kalaivanar N.S.Krishnan and T.A.Mathuram

One Hundred Tamils of the 20th Century

Kalaivanar N.S. Krishnan
29 November 1908 - 30 August 1957

Kalaivanar N.S.Krishnan

NSK in Chandralekha

N.S.KrishnanA Birth Centenary Tribute to Kalaivanar N.S. Krishnan, the Tamil Comedian and Political Activist by Sachi Sri Kantha, 29 November 2008

It is rather unfortunate that scholarship on Tamil comedy in performing arts (in stage, cinema, radio and TV) has been shoddy at best. Available information on Nagarkoyil Sudalaimuthu (N.S.) Krishnan (1908-1957), the king of Tamil comedy, in the internet has been insipid and banal. As such, I venture in this essay to view N.S. Krishnan (hereafter NSK) from a fresh angle, on his birth centenary falling on November 29, 2008.

In Tamil pulp literature, NSK has been compared with Charlie Chaplin (1889-1977). That both Chaplin and NSK had (1) a similar deprived upbringing, (2) early entrance into the music-hall stage performances in London and southern Tamil Nadu as primary school dropouts, and (3) entry into movies from stage comedy in their mid-20s, had precipitated this analogy of NSK as a Chaplin clone. The fact that NSK�s entry as a first-generation comedian into Tamil cinema [heralded by the release of Menaka on April 6, 1935] almost overlapped with Chaplin�s final performance as the tramp [in the Modern Times was in 1936] makes it inconvenient for easy comparison between the two comedians. In the 1930s, NSK�s fellow cinema comedians had prefix tag names like Buffoon Sanmugam, Loose Arumugam and Joker Ramudu.

As of now, I could locate only two recorded references in English, relating to NSK�s career in comedy. These are as follows:

Evaluation of Barnouw and Krishnaswamy (1963)

�A brilliant comedian and satirist, he [N.S. Krishnan] was often compared with Chaplin. His following was confined to the Tamil-speaking area, but the intensity of its devotion appears to have matched anything in the annals of comedy. When he died in 1957, the crowds at his funeral procession are said to have been comparable to those at the funeral of Mahatma Gandhi.

Krishnan had built his huge following during the war years, when it had become almost obligatory for a Tamil film to have a Krishnan sequence, though unrelated to the main plot. Krishnan had always written such sequences himself, and acted them with his wife, Mathuram, and other associates. During the war period over a hundred such sequences were made by Krishnan for many different producers. By the beginning of the independence era he was a figure of towering stature. (Footnote: A trial on a murder charge, of which he was acquitted, had the effect of increasing Krishnan�s popularity. His attorney in the case was the statesman and man of letters, K.M. Munshi, who conferred with Krishnan several times �in the lock up� and later wrote of these meetings: �Even under the Damoclean sword which was hanging over him he would cheerfully mimic Mr. Justice Mockett, myself and my learned opponent the Advocate General � and all with such inimitable grotesqueness as to throw me into fits of irrepressible laughter. Never for a moment had I thought of myself as cutting so ludicrous a figure in a court of law.�)

In 1948 Krishnan produced a feature film which Annadurai wrote. As the party began its organization, Krishnan appeared often at its rallies and gave enormous impetus to its growth. The skits he performed on such occasion often satirized orthodoxy. In some there was ridicule of Brahmins. Such features were always sure of an ovation at DMK rallies.�

I, for one, have difficulty in agreeing that NSK�s comedy is in the same plank as that of his illustrious contemporary Charlie Chaplin. It is like comparing a butterfly with that of a bee. Though there seems to be some superficial similarities between NSK and Chaplin, the differences (see below) outweigh the similarities.

A thumb-sketch by Rajadhyaksha and Willemen (1999)

The following synopsis on NSK�s stage and cinema career appears in the compilation of Rajadhyaksha and Willemen, that erroneously identifies the comedian�s birth year as 1905, instead of 1908.

�Legendary Tamil film comedian, stage actor and political activist. Born in Nagerkoyil, in former Travancore. Joined the TKS Brothers drama troupe aged 17, replacing the comedian and film star M.R. Swaminathan (seen in e.g: 1000 Thalaivangi Apoorva Chintamani, 1947). Was already a noted stage star when debuting in the TKS Brothers production of Raja Sandow�s Menaka. Early films with Sandow (Vasantasena, Chandrakantha) where he met his wife and long-term comedy partner T.A. Mathuram (1918-1974). Played a lead role in Alibababum 40 Thirudargalum, establishing his distinctive brand of comedy.

Classic screen image developed Kattiyankaran folk theatre conventions with a separate sub-plot and spoken dialect as opposed to the high-flown Elangovan-type language (e.g: playing fishermen with T.S. Dorairaj in Shakuntalai; Mudal Thedi). In this style, the comedian can address the audience directly and allude to topical events (e.g: his funny song in Paithiakaran, referring to his jail sentence; his lines in the costumed period movie Amarakavi referring to a recent visit to the USSR).

The style is enhanced by the comic but politically strident lyrics of Udumalai Narayana Kavi, written specially for Krishnan (e.g: Nallathamb). Initially a Marxist sympathizer and a friend of Pa. Jeevanandan (whom he sheltered when the CP was banned), Krishnan became first a nationalist and then a DMK supporter, producing C.N. Annadurai�s DMK film, Nallathambi, directing Panam and acting in the Karunanidhi-scripted Raja Rani and Rangoon Radha.

Kalaivanar N.S.Krishnan with C.N.Annadurai

Together with M.K. Thyagaraja Bhagavathar, he was convicted of murdering the gossip columnist Lakshimikantan although he proclaimed his innocence all his life. His wife started the N.S.K. Nataka Sabha (aka Eneskay Nataka Sabha) staging plays mainly directed by and featuring the star S.V. Sahasranamam. Their best-known play is P. Neelakantan�s nationalistic Nam Iruvar, later filmed (1947) by the AVM Studio. The company debuted in film production with Paithiyakaran; their best-known productions are Nallathambi and the Krishnan-directed Manamagal and Panam. Panam, a major DMK film, featured the Parasakthi (1952) combination of writer Karunanidhi and star Ganesan, while Krishnan sang a pro-DMK song. It also featured documentary footage of a DMK Party conference.�

NSK�s other three prominent DMK associates in Tamil movie world (noted above), namely lyricist Udumalai Narayana Kavi (1899-1981), script writer-politicians Anna (1909-1969), and Karunanidhi (b.1924) outlived him. Now, I provide comparisons between Chaplin and NSK brands of comedy.

NSK�s similarities with Chaplin

(1) Both Chaplin and NSK had Dickensian childhood and drifted to stage performance because of it, for survival. What Chaplin�s biographer Theodore Huff noted, �a philosophy, teaching the sweetness of adversity, runs through all the amusing but penetrating studies of life Chaplin has given us.� may fit equally well to NSK.

(2) The politics of Chaplin and NSK was left of Center, and both reveled in tweaking the noses of authority figures. While Chaplin�s most adventurous role of his career was parodying Hitler in The Great Dictator (1940), NSK never had an equally prominent role in his movie career, though he had a pungent song with suggestive pun �Theena Muuna Kaana� propagating the glory of DMK in the movie Panam (lit. Money, 1952). NSK also visited the then USSR in 1951.

Kalaivanar N.S.Krishnan in the USSR

(3) Both Chaplin and NSK had one of their wives in films, providing a companion foil. While Chaplin�s third wife Paulette Goddard (1910-1990) was a co-star with Chaplin in Modern Times(1936) and The Great Dictator(1940), it was unusual for an NSK movie without his second wife Mathuram accompanying her husband. It should be noted that before Paulette Goddard and before his first marriage, in late 1910s, Chaplin worked with his then flame Edna Purviance (1895-1958) in more than 30 films.

(4) Both Chaplin and NSK had their entanglements with law enforcement. While Chaplin received warrants for his divorce trials and paternity suits but without spending a day behind the bars, NSK was arrested as an accused in a murder trial of gossip columnist/ muck-raker journalist C.N. Lakshimikanthan, and served jail sentence for nearly 2 years and 2 months (from Feb.12th 1945 to April 25th 1947).

(5) Both Chaplin and NSK were creative in establishing their screen mascots. If the lovable tramp was Chaplin�s alter-ego for the silent screen, NSK�s creation for the talkie screen was the kattiyankaran character, adopted from traditional Tamil stage. The Tamil word �kattiyankaran� has a wider range of meanings; literally a herald, but expanding into the boundaries of the function of buffoon, clown, jester and predictor.

NSK�s differences from Chaplin

(1) Primarily, the major difference of NSK�s comedy to that of Chaplin�s comedy was based on the distinction between silent and talkie movies. While most of Chaplin�s movies were of silent varieties, all of NSK�s movies were talkies. Only the last 5 (from 1940 to 1967) of nearly 81 movies of Chaplin were talkies. In his 1964 autobiography, Chaplin had noted:

�Although a good silent film was more artistic, I had to admit that sound made characters more present. Occasionally I mused over the possibility of making a sound film, but the thought sickened me, for I realized I could never achieve the excellence of my silent pictures. It would mean giving up my tramp character entirely. Some people suggested that the tramp might talk. This was unthinkable, for the first word he ever uttered would transform him into another person. Besides, the matrix out of which he was born was as mute as the rags he wore.�

If Chaplin�s speciality in comedy was visual, slapstick and pantomime, NSK�s comedy was mostly oral. Verbal humor filled with pun and repartee, as well as songs derived from stage folk plays constituted NSK�s �matrix�. This canvas limited NSK�s appeal to only Tamil-speaking audience. There is disagreement on the number of NSK�s movies. Some web sources mention an inflated number of 150 movies. Vamanan (2004) had listed 82 movie titles as NSK�s output. When cross-checking with Film News Ananthan�s (2004) database on Tamil movies, I counted about 12 omissions. Thus, altogether, NSK�s movie productivity cumulates to 94 movie titles, nearly 50 lesser than the over-estimated number of 150.

(2) Secondarily, while Chaplin had a long life of 88 years; with active involvement in movies from 1914 to 1967 when he released his final movie A Countess from Hong Kong at the age of 77, NSK had a short life span of 48 years, with a movie career limited to 22 years, of which two (between Feb 1945 and April 1947) were spent in imprisonment. During the pre-imprisonment phase of his career, 55 of NSK�s movies were released, among which three were his own productions. The period between April 1947 and his death on August 1957 saw the release of another 34 of his movies, among which NSK�s own productions accounted for four movies, namely Paithiakaran (1947), Nallathambi (1949), Manamagal (1951) and Panam (1952). Five more movies of NSK were released posthumously. Among these five movies, two each were MGR (Raja Thesingu, 1960; Arasilankumari, 1961) and Sivaji Ganesan (Ambikapathi, 1957; Thanga Pathumai, 1959) starrers.

(3) While Chaplin had a good ear for music, had composed music for all his �sound films� since City Lights (1931), and his voice was first heard in a six-line gibberish song [Se bella piu satore, je notre so catore � Je notre qui cavore, je la ku la qui la quai] he sang in Modern Times, music was hardly a major component of his comedy. In one of his early movies, The Vagabond (1916), Chaplin did play a street musician. NSK, on the other hand, was a folk-musician in his own right and used songs to spread his social reform message and enliven his comedy routine. Usually, he appeared with a percussion instrument in his characters. Singing comedians have been rare even in Hollywood. Among the 22 comedians/comedian pairs/comedian teams profiled by Lenoard Maltin for his 1978 book The Great Movie Comedians from Charlie Chaplin to Woody Allen, only Danny Kaye can be distinguished as a good singer. Among the Tamil comedians who followed NSK, only J.P. Chandrababu can be merited as a good singer.

(4) While Chaplin was not known as a patron of folk arts, Venkatraman credits NSK as a rejuvenator and populariser of villu-p-pattu (bow song), a Tamil folk art form (story telling with satirical witty songs). NSK�s pioneering steps were boosted by a few of his movie proteges (actor S.S. Rajendran, comedian Kuladeivam Rajagopal, and one of his assistants Subbu Arumugam).

(5) Healthwise, until he married his fourth wife Oona in 1944, by all contemporary accounts Chaplin suffered from a character flow of an over-sexed Don Juan, bedding nubile teenage starlets. An entry under the theme �Women� in The Chaplin Encyclopedia notes that �On 11 January 1972, David Lewin of the Daily Mail quoted his response to the question, �What is your weakness?�, �My weakness?� replied Chaplin, �Women. I love them all.�� Because his father died of alcoholism at the age of 37 and his step-mother Louise also was an alcoholic, Chaplin �had an understandable aversion to alcohol, which had brought such tragedy to his family�, noted his biographer Theodore Huff. Opposingly, NSK fell victim to alcoholism, though he had preached against this malady in one of his well known songs, and died of liver disease, aged 48, on Aug. 30, 1957.

A Lesson Learnt in colonial Ceylon

In late 1970s, I read the memoirs of Tamil drama pioneer T.K. Shanmugam�s (TKS) �Enathu Nadaga Vaazhkai� (My Life in Drama). In it, Shanmugam reminisced about an incident that had happened in colonial Ceylon. I then annotated this incident with the caption, �The Ceylon Tamil who demanded apology from Kalaivanar� and this appeared in the Sudar tamil magazine of May 1980. Unfortunately, neither I do have a copy of this print, nor the TKS�s memoir with me now. Thus from memory, I write the story as recollected by TKS.

NSK has joined the TKS Brothers� drama troupe Madurai Sri Bala Sanmuganantha Sabha at the age of 17. This probably would have been around 1925. Subsequently, this drama troupe was invited for a Ceylon tour, as was usual in those days. The sponsor of this Ceylon tour was one Shanmugam Pillai. While on stage, NSK had cracked an off-beat impromptu remark to his pal, �You play (kiss) with your love interest, while I kiss with my mother here.� This remark made Shanmugam Pillai, the sponsor, so furious that at the end of the play, he admonished the young NSK; �Merely to elicit a laugh from the audience, you never ever crack a joke that goes against our society mores.� Flabbergasted NSK then tendered his apologies to Shanmugam Pillai. The fact that TKS had included this incident in his memoirs reveals his sincerity and the code of conduct adopted in stage in those days. Lately, NSK�s comedy lines in movies came to be appreciated for their cleanliness, uninfected by double entendre. It can be inferred that the admonishment of sponsor Shanmugam Pillai might have had some influence NSK�s character.


In his autobiography, the Tamil Nadu Chief Minister M. Karunanidhi, was apt and has graciously compared NSK to Aristophanes (c 450-385 BC), a contemporary of Socrates (c 427-347 BC) and Plato (c 469-399 BC). Karunanidhi equated his political mentors Periyar E.V. Ramasamy to Socrates, and Annadurai to Plato. Though NSK was a benefactor to young Karunanidhi in the film world, this comparison of EVR, Anna and NSK is well fitting. To sum up, it can be noted that NSK�s song and comedy routines were so unique that though there has been quite a few tagged pretenders in the Tamil movie world, none could rival NSK�s stature. Some may scream that the situation, tempo and entertainment milieu have changed. But nothing prevents a comedy genius to take charge of a situation surrounding him to generate rib-tickling, thought-provoking comedy. This was true to the world of Aristophanes and to Chaplin and NSK as well.


Film News Anandan: Sadhanaigal Padaitha Thamizh Thiraipada Varalaru. Manivasagar Pathippagam, Madras, 2004.

E. Barnouw and S. Krishnaswamy: Indian Film. Columbia University Press, New York, 1963, pp. 173-174.

C. Chaplin: My Autobiography. Penguin Books, 1964.

T. Huff: Charlie Chaplin. Pyramid edition, 1964 (originally published 1951).

Kalaignar Karunanidhi: Nenjukku Neethi (autobiography), part 1. Thirumagal Nilayam, Chennai, 1985. 2nd ed., pp. 141-158 and 314-322.

L. Maltin: The Great Movie Comedians from Charlie Chaplin to Woody Allen. Crown Publishers, New York, 1978.

G. Mitchell: The Chaplin Encyclopedia. B.T. Batsford Ltd, London, 1997.

A. Rajadhyaksha and P. Willemen: Encyclopedia of Indian Cinema D. Robinson: Charlie Chaplin Comic Genius. Harry Abrams Inc., New York, 1996.

Vamanan: Thirai Isai Alaigal. Part 1. Manivasagar Pathippagam, Chennai. 2004 (2nd ed), pp. 148-159.

S. Venkatraman: Villu-P-Pattu. Indian Folklife Newsletter, April 2000; 1(1): 15.

Feedback from Mathuram Nallathambi, grand daughter of Kalaivanar N S Krishnan
Tamil Nadu 30 July 2009


Let me start by introducing myself. I'm Mathuram. Grand daughter of Kalaivanar N S Krishnan.

I keep coming back to tamilnation.org site to read up about whats happening in Sri Lanka. Today I landed on this article about Kalaivanar : http://www.tamilnation.org/hundredtamils/nsk.htm It was quite nice. Specially the difference between Kalaivanar and Charlie Chaplin. I liked the way the article ended "But nothing prevents a comedy genius to take charge of a situation surrounding him to generate rib-tickling, thought-provoking comedy" how true and insightful these words are.

To fill the gap that is mentioned in the beginning of the article about the lack of information about Kalaivanar and authetication of available information. I have hosted a site in memory of Kalaivanar N S Krishnan and T A Mathuram which talks about their life and works. www.kalaivanar.com the content of the site is an abstract from the thesis done by my mother (daughter-in-law of Kalaivanar) after 5-6 years of research.

It would be nice if you can pass on this information to the writer of this article. I'm sure he will enjoy reading it.

Ps: Kalaivanar has acted in 120 films for which we have records in form of old news paper articles, photos, interviews from his associates of yesteryears and family.

Best regards
Mathuram Nallathambi.

கலைவாணர் என்.எஸ். கிருஷ்ணன் - Tribute by Tamil Nadu Government

49 ஆண்டுகள் வாழ்ந்து ஆயிரம் ஆண்டு காலச் சாதனையை கலைத்துறை மூலம் செய்து காட்டியவர் கலைவாணர் என்.எஸ். கிருஷ்ணன் அவர்கள். கூத்தாடிகளாக, குறை மனிதர்களாக, அரிதார வேலைக்காரர்களாகக் கருதி ஒதுக்கித் தள்ளப்பட்ட நடிகர் சமுதாயத்தில், அறிவு விளக்கேற்றி வைத்து மக்களுக்குத் தொண்டு செய்யப் பிறந்தவர்கள் என்ற நிலையை உருவாக்கியவர்.

கலைவாணர் சகலகலாவாணர். அவர் பாடுவார், ஆடுவார், நடிப்பார், நடிக்க வைப்பார், எழுதுவார், எழுதவைப்பார், இயக்குவார், மேடையில் உரை ஆற்றுவார். சிரிக்கவைத்து சிந்திக்கச் செய்வதில் வல்லவர். பிறர் மனதைப் புண்படுத்ததாமல் பண்படுத்தும் முறையில் நகைச்சுவையைக் கையாளும் கலை உணர்வு மிக்கவர். பழங்கலைகளின் பண்பு கெடாமல் அவற்றைப் புதுமைப் படுத்தி மக்கள் மன்றத்திற்குத் தந்தவர். அவர் நடத்திய கிந்தனார் கதாகாலட்சேபமும், தெருக்கூத்து, வில்லுப்பாட்டு போன்றவைகளும் இதற்குச் சான்று.

அறிவியல் கருத்துக்கள் நாட்டில் பரவ வேண்டும் என்பதில் அக்கறை, ஆர்வம் கொண்டவர். ஏறத்தாழ 150 படங்களுக்கு மேல் நடித்துள்ள அவர் சீர்திருத்தக் கருத்துக்களை திரைப்படங்களில் துணிவோடு எடுத்துக் கூறியவர். கலையுலகில் கருத்துக்களை வாரி வழங்கியது போல் தமது வாழ்க்கையிலும் ஆயிரக் கணக்கானவர்களுக்கு பணத்தை வாரி வாரி வழங்கியவர்.

அண்ணல் காந்தியடிகளிடமும், காந்திய வழிகளிலும் மிகுந்த பற்று கொண்டவர். காந்தியடிகளின் மறைவுக்குப் பினனர், அவரது நினைவைப் போற்றும் வகையில், ஐம்பதாயிரம் ரூபாய்க்கு மேல் தமது சொந்தப் பணத்தைச் செலவிட்டு தமது ஊரான நாகர்கோவிலில் அண்ணல் காந்தியடிகளுக்கு நினைவுத்தூண் எழுப்பியவர்.

அவரது நினைவாக சென்னையில் உள்ள அரசு அரங்கம் கலைவாணர் அரங்கம் என பெயர் சூட்டப்பட்டுள்ளது.

Kalaivanar Arangam
கலைவாணர் அரங்கம், வாலாஜா சாலை,
ஓமந்தூரார் அரசினர் தோட்டம்,
சென்னை - 600 002.

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