Torchbearers of Tradition Charukesi Viswanathan

COVER STORY SIKKIL SISTERS Torchbearers of tradition Charukesi Viswanathan ith flute genius T.R. Mahalingam and his remarkable sishya Sangita Kalanidhi N. Ramani for close Wrelatives (see family tree) on their mother’s side, the sangeeta gnanam of the renowned Sikkil Sisters, flautists, has been no surprise. Probably the only successful flute duo of their time, certainly the first female pair of instrumentalists in Carnatic music, Sikkil Kunjumani and Neela have continued the vocal style of flute playing that Mali (Sruti 24) launched so memorably during their lifetime, changing the history of the pullankuzhal irreversibly. Before Mali, the Carnatic flute as a concert instrument owed much to the pioneering efforts of Sarabha Sastri (1872-1904) and the maintenance of that tradition by his sishya parampara of the likes of Palladam Sanjeeva Rao and H. Ramachandra Sastri Narayanaswami Iyer played the flute so well that it (see Sruti 67). enraptured the listener. “He had a huge passion for the instrument. The sound should always permeate the air “Azhiyur Narayanaswami Iyer was my guru,” reminisced without a break, he said. All else should be forgotten, Sikkil Kunjumani, the older of the Sisters. “He was my he insisted. ‘It is in your hands to succeed’.” uncle, residing in Puliyur, near Azhiyur. I was seven or eight then and we had an idol of Krishna playing The age-difference is almost eleven years between the flute at home. I used to imitate that with a stick Kunjumani and Neela, the younger of the two sisters. in place of the flute and humming tunes. My father Azhiyur Natesa Iyer noticed that and felt that I had a For Neela, the journey was more strenuous. “I learnt natural flair for music. He decided to take me to my with difficulty, I must confess,” Neela said. “You know, guru for initiation. It was a bold step as girls those a girl child normally begins to speak when she is less days were never into artistic pursuits. My Periappa than a year. I started to speak only when I was four or Narayanaswami Iyer was also very supportive of the so. There was an idol of Krishna in our house which idea. He gave me a short flute. In just two years, he I adored. When I wanted someone to fetch it for me, prepared me for a concert. Our servant Tangavelu so I could play with it, no one understood my prattle. escorted me everyday to my guru’s house. I had to walk I then sang “uttani begene baa o.” Even if the words were to cover the distance. It would take an hour or so to not clear, my audience recognised the song Krishna nee reach my master’s place. The class would start by eight beganey as I got the tune right. I already loved the flute.” in the morning. Periappa was impressed by the nada of Neela recalls, “I was seven years old when my sister the flute and played it as his main instrument, though he Kunjumani initiated me into the flute. I took a good taught many students vocal, violin and veena. He gave year and a half just to learn the sarali varisai. Since my many solo concerts accompanied by our father on the fingers were very small, I had a problem holding the mridanga.” flute. I had no grip. The guru would prod me, ‘Play, 13 l SRUTI November 2010 COVER STORY you can easily do it’. Luckily for me, I could effortlessly “Do not lock up your music within the four walls of remember my everyday lessons without having to write your home. Let a few at least listen to it.” Slowly, them down all the time.” she began to take part in public functions. The real turning point came after her husband was transferred “It was 1946 or 47. My arangetram was in the Sikkil to Mumbai, where she was honoured with a gold medal Singaravelar temple. Ramu Bhagavatar accompanied in a concert at Shanmukhananda Sabha. A few more me on the violin and my father gave mridanga support, concerts followed. so uplifting to the performance of a small girl! Then I started participating in small events and school Kunjumani and Neela played the flute as a duo for the functions. In the Krishna Jayanti Utsavam at first time in the Kasi Viswanathar temple at Tanjavur. Thiruthuraipoondi conducted by the local mirasdar Their first major concert together was in 1953. Then, I was honoured in a separate function with a gold as the demand for performances gradually grew, medal, and the title Apoorva Venugana Balakrishna Kunjumani’s husband allowed her to perform regularly Avatara.” with her sister. There was no looking back after that. “Another member of our family of musicians was our The Sikkil bani uncle, Ramamrita Iyer, a mridanga vidwan, who had played for Saraswati Bai. He accompanied Semmangudi Natesa Iyer who as a mridanga vidwan, accompanied Srinivasa Iyer many a time. Once the famed guru many stalwarts, was greatly influenced by Semmangudi Tanjavur Vaidyanatha Iyer accompanied him on the Srinivasa Iyer’s music. He trained daughter Kunjumani khanjira to his mridanga. He also used to sing well.” by singing for her and insisting she repeat the exact phrases on the flute. He did not know the swara-s, Veeraswami Iyer conducted the Radha Kalyana Utsavam but demanded the same intonation, be it raga or annually at Nagore for about ten days. Many leading sahitya. He did not spare her until till she got the vidwans, like Avudayarkoil Harihara Bhagavatar, sangati-s right. The same routine continued when Neela Mangudi Chidambara Bhagavatar and other eminent joined her sister. So the duo involuntarily started to artists performed there. It was here that Kunjumani register the vocal bani in their minds and accordingly, made her debut at the age of nine. Support came from they split the sangati-s, adding appropriate tuttukara-s the public who thronged the venue in large numbers. in their position. He trained them to avoid unnecessary gamaka-s in their music to increase clarity. The sisters Listening to Kunjumani’s flute recital, Devendrappa, practised every evening as if they were playing at a vidwan of the Mysore Samasthanam, conferred the title concert, with Natesa Iyer accompanying them on the of Venu Gaana Praveena and invited her to perform at mridanga and Sikkil Balu, who grew up with them, Mysore. Her father always escorted her and provided on the violin. Sometimes, Natesa Iyer’s sishya-s, Vadivelu mridanga support. The many gifts she received after a and Dhandapani, to name a couple, joined them on the veritable string of concerts were mostly silver articles, a dholak too. silver bowl, silver soap box and what not. The strong foundation laid by their father stood the sisters Life was no bed of roses for a woman musician. “Akka in good stead in a long career of consistent performance faced a lot of opposition,” Neela recalled. “But she and pleasing manodharma. Presenting a rare spectacle in faced them squarely with our father’s support. After her the early years – female flautists were unusual but a pair of marriage to Venkataraman, she was not able to continue them was rare – the sisters showed perfect understanding her flute concerts, but she was allowed to perform for and total mastery of the instrument. Neela was the All India Radio.” younger, more adventurous partner, fearless in attempting The couple were living in Kochi, when Kunjumani’s complex sangati-s and rhythmic forays, while Kunjumani neighbours heard her flute while she was practising was an island of calm, providing a solid platform for Neela at home. Acknowledging her talent, they advised her, to launch her essays. 14 l SRUTI November 2010.

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