VOLUME 27 ISSUE 9 SEPTEMBER 2020 ` 85 No

Home , Ajoy Chakrabarty, Alarmel Valli, Alla Rakha, Arcot Ramasamy Mudaliar, Balasaraswati, Birju Maharaj

ISSN 0970 - 7816 VOLUME 27 ISSUE 9 SEPTEMBER 2020 ` 85 No. 36, North Usman Road, T.Nagar, Chennai - 600 017. Phone : 044 2814 3093 Chennai I Mumbai Shop Online at www.sundarisilks.com

2 l SRUTI September 2020 3 l SRUTI September 2020 Founder – Editor CONTENTS Vol. 27 Issue 9 September 2020 The late N. Pattabhi Raman Editor-in-Chief S. Janaki É 28128075 Senior Associates R. Vedavalli, Nandini Ramani, T.T. Narendran, Gowri Ramnarayan Critics/ Correspondents in India Bengaluru Sulochana Saralaya É (080) 23513444 Bhubaneswar Ileana Citaristi É (0674) 2433779 Chennai V. Karpagalakshmi, S. Sivaramakrishnan, Anjana Anand, C. Ramakrishnan Kolkata Tapati Chowdhurie É 09831071202 / 9830054247 Meena Banerjee É 09831262127 Nita Vidyarthi Mumbai Gayathri Sundaresan New Delhi Leela Venkataraman É (0124) 4058466 / 09810000259 Tiruvananthapuram K.K. Gopalakrishnan É (0487) 2381584 Roving Critic Sunil Kothari Correspondents/ Representatives Abroad Melbourne Shobha Sekhar U.S.A. Shankar Ramachandran , P.N. Srikant

Sruti Staff & Services: Art Editor Sudha Narayanan Photography Akira Io, Hariharan Sankaran Accounts Kalpana Muralikrishnan Design S. Sathish Golden Jubilee (p. 37) Office: The Sruti Foundation No. 9, Cathedral Road, Chennai 600 086 É (044) 28128080-83 and 28128074-76 For subscription related queries and complaints < [email protected] > 5 Readers write For editorial related submissions and feedback < [email protected] > Sruti Internet Edition : http://www.sruti.com & srutimag.blogspot.com Sruti gratefully acknowledges the help rendered by the Sangeet Natak Akademi, New Delhi, by way of a financial grant. 7 News & notes ……………………………………………………… The Sruti Foundation 14 Birthday calendar The publication of Sruti is one of the activities undertaken by The Sruti Foundation, a charitable trust which aims at promoting excellence, preserving valued traditions and encouraging innovation in regard to Indian music and dance. 16 Gayathri Venkataraghavan Board of Trustees N. Sankar, Chairman V. Vaidyanathan, Sukanya Sankar 26 The Indian diaspora v Ramya Harishankar Advisory Board N. Ramanathan, S. Janaki (ex officio) ……………………………………… Heritage sthalams v Kadambar Koil Printed by Mr P U Aravind and published by Mr P U Aravind on behalf of 34 The Sruti Foundation and printed at Lokavani Southern Printers (P) Ltd., No.122, Greams Road, Chennai 600 006, and published at No. 9, Cathedral Road, Chennai 600 086, Editor Ms S Janaki. 37 Organisation v Brahma Gana Sabha ………………………………………………………

SUBSCRIPTION DETAILS 40 News & notes v (continued) 1 Year Foreign - US $72 [including Airmail charges] - You can Subscribe / Renew ONLINE ONLY by logging on to www.sruti.com. 1 Year in India - `1020 (INR payments can be made by DD/Cheque (to be sent 44 S. Rajam’s paintings v Saptaswara devata: Ri by Speed Post only) or by Bank Transfer. Bank Transfer details is available on www.sruti.com under Contact Us. Please Note: INR Cheques, DDs to be drawn only in favour of 4 6 From the Editor THE SRUTI FOUNDATION. Visit www.sruti.com to subscribe online. All rights reserved. © September 2020 - All articles, photographs and materials appearing in this issue whether in whole or in part, in any form are exclusive copyright Front Cover: Gayathri Venkataraghavan of The Sruti Foundation and nothing may be reproduced in any form or stored in Ramya Harishankar (Photo by V.K. Rajamani) any electric or electronic storage retrievable format. The editors and publisher of SRUTI do their best to verify the information published, but do not take responsibility for No. 432 the absolute accuracy of the information.

4 l SRUTI September 2020 READERS WRITE

Special tavil S. Sivaramakrishnan

was always intrigued by what melam team but are engaged specially a ‘special tavil’ means—the during festival occasions for leading I term prefixed to the names nagasawara vidwans. This involved of tavildars of name and fame in much deliberation by the organisers concert announcements featuring and sponsors. nagaswaram artists of repute. Following the revelation that there During my boyhood days, the tavil was nothing ‘special’ about the tavil fascinated me no end. I waited for the vadyam, our focus entirely shifted to temple festivals, mainly for the arrival the tavildars—our matinee idols! The of the ‘special tavil’ maestros—my the courage to ask one among main concert during the procession heroes! The elders in our family the troupe about the special tavil. was eagerly awaited and we positioned were confident that the youngsters Though amused, he explained that the ourselves around the tavil vidwans to would ultimately learn to appreciate specialty was all about the vidwan and literally savour the beats. We were nagaswaram music through the tavil not the instrument. We were wonder- only too happy to run small errands and hence never prevented us from struck! The special tavil vidwans, he for them like fetching drinking water being around the melam all the time. explained, are not part of a regular and the towels they needed to wipe the We watched the tavildars—their body language, mannerisms, and the high- decibel output while they played. We went in the mornings to their camps in the village to see how they mended the instrument, how they prepared for Murali music the evening concerts, their enviable musicaL physique, and the extraordinarily obedient assistants who also prepared Pvt. ltd. for them the ‘paan box’ fondly called the “vettilai chellam”. The organisers gave top priority to their boarding We deal in all kinds of musical instruments, books and accessories. and lodging too. The tavil masters We also undertake repairs and service. were highly knowledgeable in music and were laya-giants. Many of them VISIT OUR STORE: were left handed—a common feature Shop no. 29/30, BBC Manor, among tavildars! 23, Doraiswamy Road, T. Nagar, Chennai - 600 017 We are open Monday to Saturday from 10:30 am - 8:00 pm In our endeavour to discover more about the special tavil, we used to +91 88844 99955 [email protected] 044-24345105 closely examine the instruments which appeared “seasoned and well- groomed”—much superior to the ones used by the local vidwans. We even used to figure out meaningful patterns on the hide on the playing side of the instrument and interpret them. We discovered that the ‘special tavils’ had a robust nada or timbre. Opinions differed among us to such an extent that once we mustered

5 l SRUTI September 2020 Nachiarkoil Raghava Pillai Valangaiman Shanmugasundaram sweat during high energy recitals. And they kept time (talam) and enjoyed the our achievement at the end would be intricate korvais with awe. Often, a that of having followed the ‘special local vidwan would take over from tavil’ throughout the concert! the ‘jalra time-keeper’ of the team to help him out during the complicated The tani avartanam in tavil would last passages in tani. They took pride in at least an hour in temple festivals exchanging pleasantries with members and none could resist comparing the of the special team—addressing talent of the second tavildar with that them as “Anney, Annachie” or “Ayya” of the special lead percussionist. The depending on their closeness or seniority. junior also had the task of literally facing the music when the special I have listened to old recordings tavildar happened to be his guru! of Nachiarkoil Raghava Pillai and There were instances when both the Needamangalam Meenakshisundaram tavildars were equally mighty and Pillai. Valayapatti Subramaniam, people looked forward to enchanting Valangaiman Shanmugasundaram, spectacles. Subtle competition would Haridwaramangalam Palanivel, and Denganikottai Mani are some set in, quite enjoyable as well as Valayapatti Subramaniam educative. of the titans who were in great demand for special tavil and were our Denganikottai Mani We used to wait for the exciting heroes. n kuraippu segment that led to a tumultuous finale and take-off point Haridwaramangalam Palanivel HEMAMALINI S. by the nagaswaram music. The ‘kole’ prayogam (use of the stick specially on the main side) would produce sounds of various hues—at times resembling fireworks. The final korvai would be as thrilling and exciting as the last over of an ODI cricket match! The tani slot would be used by the pipers to refresh themselves. The melam vidwans from the nearby areas would attend in large numbers, and we learnt a lot by observing how

6 l SRUTI September 2020 NEWS & NOTES A commendable re-creation of Raas

aas: Tapestry of Love is a perfect sync both in nritta and in commendable collaboration abhinaya; the application of cross by senior disciples of Shree coordination in some frames with R th Bharatalaya which is in its 50 Krishna at the centre is interesting year. It brings back memories to watch. Towards the end, the of the vibrant and colourful raas visual effect of the gopis dancing choreographed by guru Sudharani around in circles has been well Raghupathy, which was performed achieved technically. The crisp on stage in Chennai, by students raas ends, leaving you wishing for from different dance schools way more. back in the early 1990s in the (Chennai), Aishwarya Ananth S. JANAKI dance production Krishnam Vande Karthik and Gayatri Ramaratnam Jagadgurum. The latest video, The making of Raas (Bengaluru), Mridula Anand premiered on YouTube, is a digital (Hyderabad), Anusha Venkatramani If you were to ask any of the reimagining of the much acclaimed (Houston), and Smruthi Jayasundar twelve senior students of Shree choreographic work to suit the digital (New Jersey City)—each one Bharatalaya who participated in space, weaving in performances performing at home. this lockdown collaboration as to by twelve senior disciples across how the Raas video was made, the distances, as a tribute to their guru There is not a dull moment in unanimous answer would be: “It and their dance school the video too as in the original just came together, seamlessly and in Chennai. choreography. The changing frames effortlessly!” are beautifully faded in and out; The video, of less than eight minutes, there are quick solos, as well as clips What began as a semi-serious is well conceptualized, executed and with two, four, six and at times WhatsApp conversation quickly crystallised into a focused idea. excellently edited, to produce an all the twelve dancing in the larger Working ‘together apart’ across seven impressive and seamless presentation. frame. The dancing bridges distances cities and four time zones, we thought The video has been scripted and beautifully, especially in the frames of attempting to recreate the Raas— edited by Lavanya Rajagopalan where the gopis seem to be holding an iconic piece created by our guru, (Houston), who has also performed hands in a chain as they dance. Sudharani Raghupathy. along with Smitha Magal (Dublin), Thought has gone into breaking the Srimathy Mohan (Phoenix), Priya monotony by even juxtaposing colour The Raas has been performed by Murle, Priya Dixit, Sasirekha with b/w shots. Every sequence is generations of students at Shree Balasubramanian and Prabha Dixit well coordinated with the dancers in Bharatalaya since 1988. The

7 l SRUTI September 2020 was a much-loved piece that each of us had performed so many times. It did not matter whether we belonged to the first generation of Shree Bharatalaya students, or were relatively newer members. We were from six different batches of students—some 30 years apart—but we connected instantly through the shared experience of our guru’s choreography, which wrapped around us, familiar and friendly like a worn and loved practice saree, as we danced. We slipped easily into performing ‘together’, instinctively knowing what to do, almost as if our exquisite music by vidwan Madurai and a spreadsheet that laid out in dancing partners were right there in N. Krishnan (fondly referred to as intricate scripted detail, minute-by- front of us, instead of half a world Vadhyar by his disciples), by itself minute, what each dancer would away. evokes the vivid imagery of Krishna do—which way they would face, and the gopis playing and dancing which side they would start and so From the first inkling of an idea, the together, and the dance choreography on. The spreadsheet quickly became entire project took just about three amplifies and magnifies the feeling of both the target of good-natured jokes, weeks. But then came the biggest being in Vrindavan. Krishna weaves and a doctrine that we all religiously hurdle. We sent the link to our guru in and out, every gopi imagines that referred to throughout the making of and waited with bated breath till we he dances only with her, and in the the Raas video. A Zoom call got received this response: “Genius! end, he is gone in a flash, leaving all everyone on the same page, clarified Lavanya, I am so proud. I went the gopis in wondering amazement. questions and also gave us a chance back to to the eighties when Reimagining this work for the digital to reconnect, with many hilarious Krishnam Vande Jagadgurum was space was, to say the least, nerve- reminiscences, across the lockdown created! The joy of all of you took wracking. globe. Post this, a Dropbox link was me to another dimension. Dance set up, and the videos began to come is a great elevator of the soul. God From the beginning, we approached in from the participants around the bless you all”. That is all we needed. this project with the mindset that we world. Everything else—the views and likes would do this well or not do it at all. and warm, kind comments—have Our guru’s approval has always been With the level of scripting and been wonderful to see and read, and everything to us, and we knew it planning that had gone in, and we are grateful for the overwhelming cannot be easily earned. the connection that we at Shree Bharatalaya have with one another, and positive response to Raas: Planning began with three elements: putting together the final video Tapestry of Love. the audio track, a reference video, became a walk in the park. Here We will hold that message from Sudha Aunty (as we call her) close to our hearts, in gratitude and humility, as words to aspire to, always.

LAVANYA RAJAGOPALAN (Dancer, teacher, and science writer)

You can watch the video at https://youtu.be/gL261BZt1gA

8 l SRUTI September 2020 Guru poornima celebrations online

aun batave patha guru bina... by the guru’s seniormost disciple on numerous deities in different when one speaks of a guru, Smita Mahajan. Various alarippus; languages (for example, Ananda Kthe image of a person who jatiswarams in Bhairavi, Khamas, natamaduvar, Mhanati Mahadeva, radiates inner beauty and compassion, Saraswati, Kalyani; sabdams and Krishna nee begane, Karuneicheivan, a veritable treasure house of parts of varnams; both from the Kaya jogyane). Some enchanting knowledge and experience, comes traditional repertoire and Sucheta tillanas in ragas Revati, Hindolam, to mind. Hence it is no surprise Chapekar’s Nrityaganga repertoire, Khamas, and Bilahari were also that even in the difficult times of were presented. There were Devi performed. Popular compositions the pandemic, a series of online and Ganesa kavuttuvams and stutis, from the Nrityaganga repertoire programmes were presented on the ashtanayika, jakkini daru, ashtapadis, like guru vandan, stuti, Suno occasion of Guru Poornima. One such a variety of padams portraying all sakhi, abhang prastaar were also commendable effort by Arundhati types of nayikas and compositions beautifully presented by the students. Patwardhan and the Kalavardhini team is worthy of mention. A massive dance feast named Anugraha Online, involving 100 dancers (from each one’s home) and over 75 compositions was organised as a day-long fest by the Kalavardhini team, on 5 July 2020, as a tribute to their guru Sucheta Chapekar, Pune- based doyen of the Tanjavur bani of Bharatanatyam. Planning for such an event involved approaching all the students, some from France, Australia, India, the U.S.A. and a few more countries, allocating the time limit, the specifications for the video and audio, checking to see that there is no repetition of items (not to mention patiently guiding technologically challenged people like me), requesting, prompting, and reminding, quite a mammoth task undertaken by Arundhati and team. With an illustrious career spanning over 60 years in the field of Bharatanatyam, Sucheta Chapekar is not new to the world of dance. The compositions that she has choreographed and performed are innumerable; it was an enriching experience to watch them being performed. Arundhati (daughter-disciple of Sucheta Chapekar) launched the event at 10 am with a beautiful pancha-jaati alarippu, followed by Indendu vacchitivira, performed

9 l SRUTI September 2020 The conclusion was in the form of a blessing by Sucheta Chapekar, who spoke eloquently about her journey as a student under the tutelage of her gurus—Parvati Kumar and Kittappa Pillai—and how she drew inspiration from the great T. Balasaraswati. She also voiced her views about the online programme presented. The piece de resistance was a small bhakti pada (Duritanche timir jao), performed by Sucheta Chapekar for world peace. The streaming of all the performances took place on the Facebook page of Kalavardhini Nrityashala, which was viewed and liked by hundreds of students, teachers and dancers around the world. The experience of seeing all these exquisite dance compositions choreographed by Sucheta Chapekar and performed with vigour by her disciples left us craving for more.

PADMINI GANESH (A dance teacher and connoisseur of music) Sustainable online model for artists

s the shutters came down like Ajoy Chakrabarty, Ulhas interviewers, from all over the globe. suddenly on cultural events Kashalkar, Kumar Bose, Samar Saha Kalakar, a brainchild of London- Aall over India on 22 March and several others. based Chandra Chakraborty, was 2020, within days the tidal wave Such examples inspired many working on an elaborate plan to host of ‘online’ events inundated the organisers to explore new vistas a fortnight-long musical event to social media, but as nothing could by inviting celebrated performers, pay tribute to her guru, A. Kanan on match the live events, many abhorred the ‘heavily compromised online A. Kanan Chandra Chakraborty presentations’. Some renowned and venerated banners such as the ‘Sankat Mochan Sangeet Sammelan’, under the guidance of Vishwambhar Nath Mishra, the tech-savvy head priest of the Sankat Mochan temple (Banaras), took the lead to change the format of their pre-planned live events and presented them online, and thus offered the annual musical obeisance to Lord Hanuman. Unfortunately, they had to rely on the pre-recorded videos of their chosen star performers

10 l SRUTI September 2020 his birth centenary. Supported by Sanjukta Ghosh, artistic director of SOAS South Asian Arts, and Imtiaz Ahmed, renowned oncologist and Rabindra sangeet exponent, this SRA-groomed vocalist requested eminent musicians like Rashid Khan, Shujaat Khan, Subhankar Banerjee, Tanmay Bose, Gaurav Majumdar and others to perform, share their memories of the centenarian, and also voice their views on the changing profile of the guru-sishya parampara. Samarth Nagarkar Each interesting session overshot its time-schedule due to the classical music, which is already incoming questions and encores of mired in a web of complex issues the viewers. such as skewed demand-supply equations, organisations struggling Samarth Nagarkar, another former with sponsors, musicians trying SRA scholar, trained with guru Ulhas desperately to stay visible and Kashalkar, now settled in the U.S.A., relevant, and often having to bend has many more ideas up his sleeve backwards to please organisations. (see box). He acknowledged that this Most artists have resorted to knee- complete change of circumstances jerk reactions to the situation, such has brought about a host of new as posting free and live concerts on challenges for musicians and social media. artists, in a niche area like Indian MEENA BANERJEE

A sustainable model for artists

“I decided to take some time to the artist as well. I am trying to think this through and come up make people realise that they are with a solution that could actually important stakeholders in the make a difference going forward,” sustenance of art and music; says Samarth Nagarkar. I have entertainment is not a freebie, but joined on Patreon (www.patreon. something they need to pay the com/samarthnagarkar), a platform artist for! While most professionals used mainly by video creators, film are getting paid despite ‘work-from- makers, Western classical and jazz home’, artists never had that luxury. musicians so far. I am one of the I have already started publishing first Indian classical musicians to vodcasts on music appreciation, get onto this platform. Through guided listening sessions, analysing this, I provide entertainment, music music by great masters, and sharing education, and build a strong unpublished concert recordings. exclusive community. I create and Within just two weeks of launching, share content exclusively with those I had over fifty patrons collectively who sign up as patrons, instead of pledging around $1000 a month. sharing for free on Facebook and This, I feel, is a model that is most YouTube. This allows a great artist- beneficial to musicians and hope audience engagement in a way that that more artists will take up this is monetised and sustainable for initiative.”

11 l SRUTI September 2020 Live for you online

n March 2020, as soon as the lockdown in India took Ieffect, Prakash RSV, a finance professional, event manager and an ardent music rasika, launched and pioneered a music channel, Live4You on Facebook, bringing musicians and rasikas together. Over the past five months, J.B. Sruthi Sagar Palghat Ramprasad Madurai Sivaganesh Aishwarya Live4You has brought music into like Lalgudi G. Jayaraman, M. the U.K. The semi-finals were held the living rooms of music lovers Balamuralikrishna, and Chitravina on 26 July 2020, and the finals on the cocooned at home. This platform N. Ravikiran. The common factors first weekend of August 2020, live on also gives up-and-coming musicians binding these three composers Zoom. The competition was judged an opportunity to get quick and are that they have composed in at by prominent Carnatic musicians honest feedback while presenting least four languages, and besides Akkarai Subhalakshmi, Sankari their music. With social distancing the traditional Carnatic repertoire, Krishnan and Sikkil C. Gurucharan. becoming pretty much the norm, the their compositions are widely The winners of the competition were ‘e-music’ model format is probably performed by dancers. Incidentally, Sanika Pande, Samanvi Udupi, C.A. here to stay. 2020 happens to be the 90th birth Bhushan Toshniwal, Pranav Praveen, In this short period, Live4You, has anniversary of the legends, Lalgudi Bhargavi Chandrasekharan, Sanjana garnered substantial viewership Jayaraman and M. Balamuralikrishna. Harikumar and Shri Hari N.H. The across the globe. Their thematic The response for the competitions winners bagged a one-year digital offering, Swara Prastaaram, invites subscription to Sruti magazine. Carnatic musicians to present short, was motivating, with participants 45-minute programmes four days registering from India, the U.S.A. and SAMUDRI a week, and the response has been promising. Swara Prastaaram has featured prominent artists such as Palghat Ramprasad, M.A. Krishnaswamy, Radha Bhaskar and Mudhra Bhaskar, Veenai Sivakumar, Sathyanarayanan (keyboard), Anahita and Apoorva Ravindran, Abhilash Giriprasad, Sunil Gargyan, Bhargavi Balasubramanian, Akshay Padmanabhan, Aishwarya Vidya Raghunath, J.B. Sruthi Sagar (flute), Madurai Sivaganesh, Adarsh Venkiteshwaran, Bharathi Ramasubban, J.B. Keerthana, Niranjana Srinivasan and Vanitha Suresh, amongst others. Live4You’s recent forays include an exclusive Facebook page for dance forms— NatyAkademi, and another page for competitions, for aspiring students of music. The theme of the first competition wasGlobal Contemporary Composers featuring the creations of eminent musicians

12 l SRUTI September 2020 (News & Notes continued on p. 40)

14 l SRUTI September 2020 15 l SRUTI September 2020 COVER STORY

Gayathri Venkataraghavan Perseverance and passion Sukanya Sankar

istening to the music of Palghat K.V. Narayanaswamy as a young girl was Lan epiphany moment that changed her entire perspective on music. As a curious backbencher during season concerts at Sri Krishna Gana Sabha, her interest in music further swelled. With no musical lineage to rely on, she had to work doubly hard towards sustaining her interest in music. Her sincerity towards the art and her perseverance is what has brought her to where she is today. Dubbed by critics as a versatile and an engaging performer, Gayathri Venkataraghavan has carved a niche for herself. Her father, however foretold this when she was just ten days old! Christening her after eminent vainika, E. Gayathri was perhaps the harbinger for more things to come. An obedient child, Gayathri started training under Lakshmanan Vadhyar when she was seven years old and after his demise she went on to learn from Rajalakshmi, who nurtured Gayathri’s love for music with small songs and kritis. Later, in 1981, Gayathri came under the tutelage of Padma Veeraraghavan, direct disciple of Ariyakudi Ramanuja Iyengar and K.V. Narayanaswamy. Enamoured by KVN’s music, learning under Padma Veeraragahavan was a turning point for Gayathri. Her listening and learning repertoire widened and she actively started pursuing her interest in music. Seven years with her guru Padma, Gayathri spent many hours in rigorous practice and also participated in several competitions conducted by prestigious sabhas in Chennai. In 1990, Gayathri came under the guidance of vidwan A. Sundaresan. Gayathri got married in 1993 and moved to Madurai/ Tirunelveli as her husband’s career demanded the move. Although it witnessed a hiatus in her career, she successfully bounced back into the performing scene after eight years and continued her training under A. Sundaresan. Her trajectory since then has been a true testament of her perseverance and undivided passion towards her music. Gifted with a robust, clear voice, she spans across octaves with ease. Gayathri is also among the most thoughtful, independent-minded and articulate singers in her generation. Her clarity of thought, the wealth of experiences she has gained from all her gurus, unfussy presentation and her ever-smiling attitude is what makes Gayathri who she is.

16 l SRUTI September 2020 An ‘A Top’ graded artist He comes from the Alathur of All India Radio, she has Brothers and Ramnad also sung various themes Krishnan schools. Learning for archival purposes for with mama was a joyous the AIR. She has anchored experience and I was inspired programmes for Doordarshan, by his emotional appeal. including a special docu Classes were never timed mentary on vidushi M.S. except when there was a live Subbulakshmi—Engum nirai telecast of a cricket match! nadabrahmam—during the Little Gayathri in concert He would get so involved in centenary celebrations, and also during teaching that many a times he would the Tiruvaiyaru aradhana. Gayathri being a meticulous teacher, she was get emotional during class. These has also performed extensively in a vainika, painter and also dabbled subtle gestures made me think and various prestigious venues in India in theatre. She has composed songs internalise all the kritis. Very often, and abroad and is also the recipient of in all the 72 mela ragas. Because of and even today, so many thoughts many awards and accolades. her association with KVN, he became cross my mind before I render a kriti, a big influence in my music too. I like for example—Should I add extra In a freewheeling conversation, started to get serious with music. sangatis? Did the composer want this Gayathri reflects on her career and She encouraged me to listen to a lot song to be sung on stage? If so, how? how music has helped her shape her of concerts and observe KVN during life. his classes. She encouraged me to What were the highlights of learning enroll in competitions conducted by from each guru? the sabhas and other organisations. A stickler for akara sadhakam and I started my training with Lakshmanan early morning practice; adhering to Vadhyar. We used to call him ‘kodai’ this rigorous routine not only shaped vadhyar as he used to raise his my voice but also helped me hone my umbrella pretending to be stern during voice production. It instilled a sense class. He laid a strong foundation with of discipline which is very important basic lessons. After his demise I went for any musician. My learning under on to learn from Rajalakshmi mami mami came to a halt due to her ill- With guru A. Sundaresan who knew how to sustain the interest in a child. She used to teach small health and I intermittently learnt Seated with K.V. Narayanaswamy’s kritis, specially those of Suddhananda from Rukmini Ramani and Lakshmi Natarajan. Every kriti I learnt from grandchildren. Standing (L to R): guru Padma Bharati and most of her songs became Veeraraghavan, Padma Narayanaswamy, a favourite in our household. them had some influence in my life. KVN and Anuradha Be it my thinking or a new quality; Later, I came under the tutelage of like when I learnt Ninnu sevinchina Padma Veeraraghavan. A multi- from Lakshmi Natarajan, it changed talented personality—apart from my entire perspective of kriti singing. Lakshmi Natarajan, a disciple of With guru Rajalakshmi Ranga Ramanuja Iyengar, was a homemaker and not a performing artist. But the way she had preserved that kriti was so unique; it had not come to the concert platform at all. We sometimes tend to colour compositions with extra sangatis in a live concert, but this kriti was unadulterated and sans gimmicks. It calmed me down and made me realise that there is so much depth in this music. I came under the tutelage of vidwan A. Sundaresan when I was eighteen.

17 l SRUTI September 2020 Tell us about your transition from a By chance I landed a concert in student to a performer? Tirunelveli and that pushed me to work towards it. I think my rigorous My first informal concert was at practice helped me reset my voice the Mahalingapuram Siva temple quickly and I was fortunate that I in Chennai, and the formal concert hadn’t lost my voice nor forgotten a happened in 1988 for the Tyagaraja kriti! The re-training process happened Vidwat Samajam, Chennai. My first season concert was under the auspices in spurts and took some getting used of the Indian Fine Arts Society in to, especially after a long time away December 1990. I won a tambura from this routine. It was more to do in their competition preceding the with finding the time and maintaining season and subsequently was invited the focus.

With guru P.S. Narayanaswamy to perform. I was accompanied by During this period, I was also training Seethapathy (violin) and Manoj Siva with vidwan V. Subramaniam of the After learning with A. Sundaresan, (mridangam). Semmangudi school under a two-year my transition to P.S. Narayanaswamy I was performing regularly until scholarship, instituted by the K.R. (PSN) was not difficult. PSN and 1993 when I got married to Dr. Sundaram Iyer Trust. Sundaresan mama were also good Venkataraghavan, an ophthalmologist. friends. The beauty of learning under Tirunelveli is always special to My husband’s education and PSN is that he completely trusts his me. The rasikas just accepted my practice demanded relocating down students. He imparts the confidence music and made the transition easy south—Chidambaram, Madurai and and the vibes that enable you to ace and smooth. I was featured in most Tirunelveli—for some years. Life any kriti. Perhaps that is why so of the local temple festivals in the took a busy turn on the home front; many of his students have become Tirunelveli belt. Majority of them my music and practice had literally successful, professional musicians. were late night concerts and would come to a standstill. Nobody told me PSN exudes positivity. Even when only begin at 10.30! The preparation not to sing; but the new environment, he was not in the best of health, that was strenuous—taking the children birth of my children and at one point aspect did not fade. He enjoys going along, at times they would be cranky, everything was overwhelming! I to the beach and many of us (his of course my mother used to come wasn’t practising regularly mainly students and his family) used to take from Chennai to help me out and because I could not manage my time turns to take him where he would amidst all this, I had to maintain focus efficiently. watch the waves go by; we think that and sing! The singing there helped me is how he recovered. How did you get back and restart your regain my confidence. musical journey? I did not have to unlearn anything Later in 2000, R. Yagnaraman, of when I moved from one guru to It was both difficult and easy in that Sri Krishna Gana Sabha, asked me another. I would have loved to learn order. My family was very supportive. to perform at their Kanda Shashti all that I could from one guru, but A green initiative under the banyan that was not possible as some of the constraints were beyond my control. But it has been a wonderful journey. The thread of bhava, bhakti and devotion towards the composer was the connecting factor through all my gurus. Apart from my gurus, YACM (Youth Association for Classical Music) has had a major influence on me. I started listening to and collecting music. As a first-generation musician, it took me a while to understand what worked for me as a listener and as a musician.

18 l SRUTI September 2020 festival. That was my first break to make my re-entry into the concert scene in Chennai. I was so nervous but Yagnaraman was quite insistent that I sang. Similarly, S.V. Krishnan of Raga Sudha, Hamsadhwani Ramachandran were all responsible for my comeback. They believed in my potential and were keen that I resumed singing. K.S. Mahadevan, the well-known critic also encouraged me. Charsur Recording Company has also been instrumental in my comeback and we presented several thematic concerts: Dhirdabhakti—Annasami Sastri A concert in San Diego, U.S.A. (2018) kritis, Navaratri on Swati Tirunal, and Being a professional musician, I like mind. Else, many a times, we are Gopalakrishna Bharati’s compositions to take the audience along with me in only bothered about what raga or are among the many albums I released all my concerts. I would like to reach tala is being performed, with so on Charsur. out to them. For example, in the kriti many thoughts racing through the How do you maintain your voice? Do you Sashivadana, Tyagaraja talks about the listener’s minds. We don’t question have a rigid practice regimen? Lord’s beautiful moon-like face and the intricacies involved in a film how even as a child he was able to guard music composition, do we? I feel be it I think my years of practice have the yagna; he calls him ‘Sashivadana’ Hindustani or Carnatic, we should just helped me maintain consistency in and has sets the composition so aptly enjoy what we hear and let the spiritual my voice. Practice used to be at fixed in the raga Chandrajyoti. If I am able awakening happen for us and not be times earlier, but now because of other to communicate this to the audience, bound by so many other things. Art domestic commitments it is spread they would be able to appreciate the can elevate and entertain at the same through the day. Practice is very kriti a little more. I may never know time. Listen with intent. The rasikas important to me and the day I have the full intent of the composer but, can write down the song list and may to miss it I feel a bit upset and low. I can convey the bhava through my be do the research online later! I have I practice in akaram and have a few singing. also blogged about this and conducted patterns of my own which have helped many workshops on appreciating me. I think our basic sarali varisai and How do you reach out to someone who Carnatic music. At the end of the janta varisai are all good voice culture has no knowledge of Carnatic music? day, I tell them it does not matter; exercises. I also like to incorporate The person who comes without any what is important is just listening. And the concert format while practicing. I expectation and has no idea about usually my performance after a talk am consciously cutting down my talk- ragas or other technical aspects of on a topic like this has tremendous time and forcing voice rest, which the art, enjoys it better! I ask people reach and the audience is also very I think is extremely important for to come to concerts with an open receptive. vocalists to maintain their voice. At the Bhavan’s Cultural Festival How do you approach a concert? Do you only sing to please the audience? Ideal situation would be where we sing for the sake of music, keeping the composer and the deity elucidated in the composition, paramount in mind. Sometimes it happens, I get a spark while I am singing and I get immersed and I am far removed from what I am actually doing, it is meditative. This does not however happen all the time! If we are able to sing with utmost faith, the rendition comes out beautifully.

19 l SRUTI September 2020 What are the thoughts that go on in your Fortunately, we have a repository of mind before a concert? concerts which can be referred to and I draw inspiration from the music of I am not quick at making decisions. great maestros. Before I plan a concert, so many things breeze through my mind, so So you don’t chase stardom or full- many kritis flash in my head. I have houses? always wished I had a sibling singing Stardom does not come easily. Some along with me on stage (laughs). I are destined to become stars in their have even mentioned this to Ranjani- chosen field and they have worked Gayatri. It is so nice to have someone mighty hard for it too. It is hard work to run your thoughts by; discuss, combined with so many different argue and arrive at a decision! I do aspects. There is something that the consult my accompanists on what I audience wants and they are able could present at concerts and they to give it to them and maintain that have been a huge inspiration to me. connect. I am happy for them. When I have something to start with, it calms my mind and I try to maintain It is nice to draw a full-house when that state. Many a times, I even change you perform. I always believe that the on the composition. Sometimes I have the list during concerts depending on supreme power is sitting in the last stopped with the keezhkalam swarams the pulse of the audience. I am quite row and listening to me. I am fortunate when the mood does not warranty mel clear that I am not running any race or to have a sizeable audience. But, kala prayogas. singing only to impress. I was outside when you take the season concerts in the concert scene for more than seven I stick to the concert format and I December, there are so many sabhas years and I have observed the situation believe that there is nothing that has now and that many concerts so the as an outsider and I know how it is. not been done by our past masters audience is naturally dispersed. Every I always wish to take the audience and this naturally helps me maintain concert is important and is a learning along with me. a structure and present a variety. experience for an artist. As a singer, how do you strike a balance between saukhyam and flamboyance? What is your creative process? A Sruti critique Gayathri Venkataraghavan is endowed with one of the most mellifluous female Striking a balance is very important voices in the Carnatic circuit today. She has well maintained the quality of and I think I owe that to my guru’s her charismatic voice. Her voice production has the perfect blend of rich tone advice. I also take cues from the and a fairly good range that covers all sthayis. She sings with excellent sruti audience. I try and strike a balance in suddham that contributes to the mellifluousness of her music. Her singing has all aspects required for a concert— a good combination of karvai, madhyama kala and briga. She does not overdo any aspect, thereby striking a good balance that adds to the pleasing nature be it the raga alapana, the sahitya of her music. She has built up a large repertoire of kritis. She sings with a of a kriti, the proportion allotted to good understanding of the compositions and has the intent to focus on their these aspects, and I vary the talas. bhava aspect. She would, however, do well to present kritis in well defined My learning from all my gurus has pathantaras. helped me in this process. I try and She is blessed with a pleasing stage presence and upholds stage decorum keep the composers mood in my which adds to the charm of her music. Some points she could work on to mind as far as possible and unless the make her unbeatable are her enunciation of the sahitya in different languages, attaining more precision and grace in her landing on the eduppu, and further niraval line demands it, I consciously honing her kalapramana skills. She could also work more on making her voice avoid flashy swaras. For instance, in more attractive in the mandra sthayi passages. Nannupalimpa, Tyagaraja describes A notable aspect of her raga singing is the usage of the akara. Rarely does she Rama as the one with the shine of use other syllables—this enhances the beauty of her rendition. Her niraval arrows and the Kodanda bow held and swara singing are marked by a good flow of sarvalaghu patterns. She also in his hand; while singing that line, seems to have a strong preference to sing arithmetical patterns (kannaku) in if I can imagine Rama in that stance, her kalpana swara and pallavi renditions. A deeper immersion into the raga shooting his arrows, my niraval will swaroopa and the swara/phrases structures that make the life of a raga, would add to the lingering musical experience. On the whole, her concerts never also be structured that way and I can disappoint; they are well balanced and satisfying. sing a variety of swaras. It all depends

20 l SRUTI September 2020 What are some of the challenges you face as a musician? Challenges are there in any profession and of course we also have our share too. Chennai has a lot of venues which have sprung up in recent years. Unfortunately, the quality of mikes and sound systems are not uniform everywhere. I am not fussy on stage but, it affects our voice. The acoustics of the venue, the quality of mikes used, everything matters. Not all sound systems are bad, but as a practice, if Jugalbandi with Lakshmi Shankar... we can allocate at least fifteen minutes ...Arati Ankalikar for sound checks, it will help all of us. Another elephant in the room, male chauvinism! As lady artists, we have all experienced it and it is deeply embedded in our system. Many up- and-coming male artists have been accompanied by stalwarts which definitely gives a boost to their career. Some accompanists will just not play for women however established they may be! But, having said that, we have so many talented percussionists and accompanists today and I am sure they will all rise to being stalwarts one day; I am fortunate that they have all accompanied me.

I also feel that some concert series, aspects in rendering ragas, I reach make it a point to communicate that specifically in some cities outside for a recording of Lalgudi Jayaraman to them. Chennai, are all male-dominated. or M.S. Gopalakrishnan. I have Tell us about your collaborations? Women need more representation at attempted some sangatis and tried to festivals outside our city. adapt what I can to suit my vocal style. My first experience of singing a Do you listen to the music of your jugalbandi was with vidushi Lakshmi Among the musicians who are Shankar. This was in San Diego; she contemporaries and other artists? Have performing today, I like listening to you had any ‘Aha’ moments? was 80 by that time, and not wanting to Vijay Siva, his discipline and the way perform. The idea of this collaboration I am a huge fan of K.V. Narayana he plans his concerts are something came about when Sukanya Ravi swamy’s music and he has been a I admire. I also listen to the Malladi Shankar, Sekar Viswanathan of Indian great inspiration to me. Among the Brothers and Malladi Suri Babu, Fine Arts, San Diego, and Cleveland past masters, I listen to so many of so many aha moments. The subtle V.V. Sundaram wanted to bring her them—specially M.S. Subbulakshmi, sensitivities Malladi Suri Babu out of her hiatus. Before the actual D.K. Pattammal, Semmangudi takes care of when he composes and concert, I spent ten days with her, just Srinivasa Iyer, S. Kalyanaraman, delivers his pallavis are awe-inspiring. to understand each other’s musical T.M. Thiagarajan, T. Brinda, the list The emotional appeal that Bombay styles, and mainly, to try and cajole can go on. It also depends on my Jayashri delivers and S. Sowmya’s her into singing a little bit every day. concert planning, if I want to explore traditional approach are all inspiring. She then started teaching me and the say, Sankarabharanam, I listen to T. Similarly concert planning and experience on stage needless to say, Brinda; to learn the nuances while pallavis of Ranjani-Gayatri and some was remarkable. At her age, she sang rendering a ragam-tanam-pallavi, I of the sangatis that Sudha Ragunathan in my sruti of five and a half! She was listen to MLV; and to know the finer sings, are indeed refreshing! I also also particular that the genres should

21 l SRUTI September 2020 Sastry in the Trinity play. The story is so close to my heart, the team bonded well and it was such a fun experience. I have never had stage fear while singing. Acting is also a passion and I have done some mono- acting while in school and countless performances in front of my mirror (smiles). But this was a different ball game! I had butterflies in my stomach At the Ad Lucem meditation series in Riga during rehearsals and before the not be mixed and insisted that both middle of my concert, came in front actual show. Fortunately, all my co- of us maintained the originality and and sat in padmasana—it was a really actors took me through and more so beauty inherent in each style. She moving experience! P.C. Ramakrishna was so confident asked me to take up Keeravani and My concert in Israel was also a unique about all of us! It helped. then she sang a tarana. I rendered experience. Just before the open-air How supportive have your accompanists a regular tanam and a pallavi with concert, it started to rain! There was been? a ragamalika. She taught me some only a small cavern selling souvenirs, beautiful pieces. One in Nand no other enclosed setting. So we were My accompanists have contributed Kedar, and then Vaishnava janato— forced to move into that cavern and greatly to my growth. Some of their which we performed together—this obviously there was no provision for strengths like adaptability and quick collaboration also made me understand mikes or a sound system; before we grasping techniques have helped the importance of the Hindustani knew, it became a mike-less concert! me restructure my journey in music musicians’ perspective of ragas. My The audience gathered around us and every now and then. Also, being personal experience has always been here too I sang a regular concert which convent educated, I did not have the more kriti-oriented. was well-received. My open-throated opportunity to learn many languages. singing helped me immensely in my I have had to work a little more than After that, I also worked with Arati voice production and combined with others on that front. I have consulted Ankalikar for the Bharat Sangeet the expertise of my accompanists, my accompanists on a few occasions Utsav in Chennai. That was a fantastic lifted the entire concert experience to to arrive at concert lists, and also experience. During the concert, the a higher level. taken suggestions on stage if I had delivery was so spontaneous and there to deviate from my planned list. was a constant play with manodharma. Would you like to share the experience I owe much of my success to my artist of acting in the musical play about the friends. During one of the Cleveland Trinity? Tyagaraja aradhanas I had the What are some of the life lessons music My association with P.C. Ramakrishna honour of singing with the legendary has taught you? M. Balamuralikrishna and also started when I did the voice-over for collaborated with a group of jazz his one-act play Mercy, on euthanasia. So many! Music has made me a better musicians there. I was fortunate that he thought of me person. I have learnt to appreciate to portray Lalitha, the wife of Syama aesthetics and the finer aspects of Apart from collaborations, some of my life. I have developed patience and international concerts hold a special Gayathri as Lalitha in Trinity perseverance, the ability to understand place in my career. In the Ad Lucem others, how to deal with challenges, meditation series in Riga, Europe, I making last minute adjustments and sang a full fledged concert in our usual to create on the spot without getting kutcheri format—Sankarabharanam followed by Sree Dakshinamoortey, anxious. Most of all, to appreciate the Paramatmudu and a ragam-tanam- silence between notes and otherwise! pallavi in Keeravani, among other Do you comment on social issues or shy pieces and we did not announce the away? raga nor did we explain anything. The audience were all Europeans and I am quite outspoken and frank. If since it was a meditative series, some I find some deviation or injustice members of the audience got up in the happening I will come forward and

22 l SRUTI September 2020 put my thoughts across. I am also a lose myself in some deep form of positive person and don’t believe in meditation whenever I heard him. He spreading negativity; I do not wish is God of music in my mind! to make anything unpleasant. I have Also, M.S. Subbulakshmi; I was just a blog which I update regularly and ten when I met her and sang Sriman I have penned my thoughts on many Narayana to her. Listening to her issues there. recording of the sahasranamam at Are you a strict teacher? 3 am in Badrinath was an ultimate fan moment for me. I adore my students and normally, am quite amicable. But, if they don’t If you had not become a musician… practice, if they simply don’t attend Perhaps become a mountaineer! class, they know now! So yes, I am I love trekking and in my trek to Kedar a strict teacher (smiles). Also, I don’t Tal, after reaching the summit at have too many students due to my 15,000 feet, I sang Kedaram! I try and time constraints. sneak in a trek even during my concert Could you share your ultimate fan tours. Trekking is all about mental moment? stamina and what I can will myself to Meeting K.V. Narayanaswamy of do. The mountains transform me and course! I was so crazy about his every cell of my body feels a part of n music. I was 15 when I first heard him nature. and it changed many things for me. [Sruti has a policy of editing out salutations The purity in his tone and his total like Sri, Smt, Sir, Ji, Pandit, Ustad, Saheb and involvement made me completely PHOTOS BY SPECIAL ARRANGEMENT honorifics from all its articles]

Awards and honours

Nada Oli from Nada Inbam, Chennai, Isai Peroli from Kartik Fine Arts, from the Visakha Music Academy, in 2003 Chennai, in 2007 Visakhapatnam, in 2016

The Kalki Krishnamoorthy award Shanmukha Sangeetha Shironmani The Life Time Achievement Award from the Kalki group of Publications, from Sri Shanmukhananda Fine Arts from Bharatiya Vidya Bhavan, Chennai, in 2003 and Sangeetha Sabha, Mumbai, in 2009 Chennai, in 2016 Nada Vallabha from Nada Sudha, The Life Time Achievement Award CMANA Award from The Carnatic Chennai, in 2012 and Professional Excellence Award Music Association of North America, from Rotary International Chennai New Jersey, U.S.A. in 2006 Madurai Meenakshi Award from Sri Chapter, in 2016 Sathguru Sangeeta Samajam, Madurai, Dr. MLV Endowment Award from in 2015 Amsa Nada Swaroopini from Mani Narada Gana Sabha, Chennai, in Guruswamy Trust, Coimbatore, in 2006 Bharat Ratna M.S. Subbulakshmi Award 2018

23 l SRUTI September 2020 4th - 13th Sept Hosted by DEVATA - Friends of Apsaras Arts Dance India ONLINE WEBINAR SESSIONS DIAP CONVERSATIONS Asia Pacific 2020 These sessions are FB Live events hosted on the FB page of Dance India Asia Pacific. Alarmel Valli in conversation with Aravinth Kumarasamy - Sat 5th Sep 8:30pm

Priyadarsini Govind Swarnamalya Ganesh Malavika Sarukkai Dr S.Sowmya Alarmel Valli Aravinth Kumarasamy

5 SEP, 4:30-5:30pm 6 SEP, 7-8pm: 6 SEP, 8-9pm: 7 SEP, 7-8pm: Alarmel Valli is a celebrated Bharatanatyam dancer and choreographer, internationally The Dancing Body Evolution of the Maargam Re-Imagining the Solo Veena Dhanammal’s School acclaimed for her ability to turn a traditional grammar into a subtle, deeply internalized, Performance of Padams personal dance poetry. Her dance, while rooted in the classical tradition, has been lauded as an undeniable language of self-expression that is dynamic and continuously evolving, able to connect with audiences across the board, from the specialist to the layperson.

Aravinth Kumarasamy is a multi-talented artiste in Indian classical dance and music, and is an award winning Artistic Director of Apsaras Arts. His creations have been acclaimed as world class, in seamlessly blending innovative choreography based on traditional dance vocabulary, thereby progressively redefining the boundaries of Bharatanatyam ensemble work. His collaborations with Southeast Asian dance forms have been globally acclaimed. Rama Vaidyanathan Heshma Wignaraja Dr Sreelatha Vinod & Anjana Anand Dr Ileana Citaristi

7 SEP, 8-9pm 8 SEP, 7-8pm 8 SEP, 8-9pm: 9 SEP, 7-8pm: Shobana in conversation with Priyadarsini Govind Exploring the Thumri in Kandyan Dance of Sri Lanka Silapathikaram - Dancer’s Sancharis in Odissi Bharatanatyam Delight Sat 12th Sep 8:00pm

Shobana Priyadarsini Govind Aditi Mangaldas Gyan Dev Singh Sujatha Vijayraghavan Lalgudi GJR Krishnan & Vijayalakshmi

9 SEP, 8-9pm: 10 SEP, 7-8pm: 10 SEP, 8-9pm: 12 SEP, 6-7pm: Shobana is a name that immediately conjures the notion of “art in its highest creativity, Re-Imagining Dance during Light Design for Bharatanatyam Appreciation of Music and Lalgudi Thillanas commitment and concept.” A true master of her craft unsurpassed in her contribution Lockdown Poetry for Bharatanatyam across various traditions from commercial film, to live theatre, music direction and especially Indian classical dance - Bharatanatyam, Shobana is an icon of Indian culture.

Priyadarsini Govind is one of the foremost Bharatanatyam dancers among the current generation. With her natural aptitude for abhinaya Priyadarsini’s nritta or pure dance is Special For details on the masterclasses and webinar intense and vigorous. A dancer known for her adherence to tradition, Priyadarsini manages series of lecture demonstrations, talks, to seamlessly blend new choreography with the traditional, thereby gently extending the SPOTLIGHT SERIES Bharatanatyam repertoire. 13 Sep, 8-9pm: workshops etc, and for online registrations Nataraja and the please visit: diap2020.peatix.com Cosmos by Presented by In Collaboration with Supported by Dr V.R Devika Follow on FB: www.facebook.com/danceindiaap

www.apsarasarts.com

24 l SRUTI September 2020 4th - 13th Sept Hosted by DEVATA - Friends of Apsaras Arts Dance India ONLINE WEBINAR SESSIONS DIAP CONVERSATIONS Asia Pacific 2020 These sessions are FB Live events hosted on the FB page of Dance India Asia Pacific. Alarmel Valli in conversation with Aravinth Kumarasamy - Sat 5th Sep 8:30pm

Priyadarsini Govind Swarnamalya Ganesh Malavika Sarukkai Dr S.Sowmya Alarmel Valli Aravinth Kumarasamy

Shobana Priyadarsini Govind Aditi Mangaldas Gyan Dev Singh Sujatha Vijayraghavan Lalgudi GJR Krishnan & Vijayalakshmi

25 l SRUTI September 2020 THE INDIAN DIASPORA

RAMYA HARISHANKAR Communicating across cultures and communities Shankar Ramachandran

met Ramya Harishankar for each time she has presented the first time when I attended something traditional and I a production of Sweating something new. She seems to Sarees in Irvine, California. The be able to seamlessly weave old show was preceded by outdoor world passions with new world events, done in collaboration perspectives without any hint of with dancer-scholar Priya the contrived. As I had several Srinivasan and Susan Roseman. conversations with her I realised The programme, which began that she has not just been dancing in the park, was followed by a and teaching dance for a long presentation by her students in an time, but has also been learning outdoor square just outside the and training, thinking deeply and city hall. The music ensemble experiencing the many flavours included tabla and a number of of dance she has encountered in Central American percussion V.K. RAJAMANI California and beyond. She has Little Ramya’s arangetram (1970) instruments. I remember worked freely and openly with marveling at the coming others and has shared her art together of so many disparate generously. She has, in her own peoples, artists, musicians words, brought Bharatanatyam and culture in Irvine, which out of the garage studios all the has the reputation of being an way to the city hall. extremely conservative place. Having started teaching I also remember being quite in her new home more by astonished at seeing students happenstance, Ramya seems to of Western modern dance and have been driven by her vision students of Bharatanatyam and her desire to be steadfast effortlessly presenting together to what she had been taught by in harmony. The programmes her gurus. Ramya was trained were not just interesting and by guru K.N. Dakshinamoorthy thought provoking, but also in Delhi from 1963 to 1969 graceful and elegant. At the end and later came under the we had Ramya sitting to share tutelage of guru Swamimalai the most traditional of abhinaya K. Rajarathnam from 1969 to sequences while she sang and 1994. She learnt abhinaya from evoked moments of delicate Kalanidhi Narayanan from 1975 passion and endearment. Those to 1982. moments stayed with me since the two-day event in 2016 titled Ramya was already an Dance Conversations (see Sruti accomplished and well- November 2016). recognised dancer before she moved to the United States, I have since had the opportunity having performed in such venues to watch Ramya and her students as the Music Academy in Chennai, perform in theatre settings and the Navaratri Mandapam in

26 l SRUTI September 2020 National Endowment for the Arts. was 1982 March and I started She wears all these lightly as she teaching in April; it just fell into goes about her day, teaching and my lap; I was just 25 at that time. I sharing dance with those who soon realised that if dance is what I cross her path. wanted to do, opportunities would be very limited. So, if I wanted to “When I look back at the things stay involved with dance I had to I did when I first got started in teach. By the end of the year I had California, What was I thinking?” about twenty-five students. says Ramya Harishankar with a characteristic self-deprecating What was your first US performance? laugh. Having moved to the There were few dance United States in 1982/83 in search performances in those days. of adventure and a new life with Madhavan, husband of Carnatic her husband, Ramya recalls that vocalist Padma Kutty, used to her first temporary job was serving arrange mostly music programmes drinks in a restaurant. “You can at that time. He however took on imagine how my Paati reacted,” the job of being a mentor and she chuckles. arranged my first performance in a With guru Swamimalai K. Rajarathnam The following interview, pretty small theatre at the nearby Cypress cerebral, gives us glimpses into College. I had recorded music Learning from guru Kalanidhi Narayanan a life spent promoting dance as from my Vadhyar and I must have a language for communicating used it I think. across cultures and communities. And then the dance school started. My first production In conversation with was Krishnarpanam in 1985, a Shankar Ramachandran fundraiser for the Malibu Temple, which was just being built, and my students also participated. When did you start teaching in the My mother-in-law Lakshmi US? Krishnamurthy was here at Trivandrum and at the Rashtrapati Bhavan in There was no one teaching in that time. She would sing for New Delhi. She has performed extensively in Orange County and by the time our performances and was also India and abroad. Her work as a teacher and I came, because my sister-in-law involved with the school. I cannot promoter of dance within and well beyond the was here and people knew I was imagine now putting students on émigré community has not gone unnoticed. coming, there were a dozen kids the stage after just three years waiting for me to teach them. It of learning! For I believe that a Her Arpana School of Dance, of which she is the Director, has had more than a thousand Arpana’s first Vijayadasami gathering in the garage (1983) students learn Bharatanatyam. Besides the various programmes and performances she has staged with her students, she has also invited and presented dancers of many forms and shared their work with the people and communities of southern California. She has convened many symposia on dance. Ektaa Center is another facet, offering professional dance studio space to all the dancers and teachers in the area. Ramya has a long list of awards and recognitions that have come to her over the years. Notable among them are the Creativity Grant as well as the Choreographer’s Fellowship from the

27 l SRUTI September 2020 When I look back, I realise that I was very particular about the technique and structure that I taught. I looked at my students through the eyes of my teachers and not through the eyes of the audiences, particularly in the diaspora. I am always pushing them to the level that I think would be approved of by my gurus and the system that I learned in. I hope I am pushing my students to be good dancers with good form, grace and depth. Especially when you consider that they cannot spend all their time in dance but is divided amongst other things as well. Also because my students are so diverse; their families come from all over India and from different faiths and they don’t all have the same familiarity with the culture and mythology. It becomes important for me to peel the layers and literally spoon-feed them. I have become good at deconstructing First arangetram of Arpana Dance School student conducted by guru Swamimalai K. Rajarathnam in CA (1985) every item, break it down so they can understand. Every individual student student needs 10 to 12 years before that and find a way to teach this new is different and there is only so much she is ready for a performance. generation of students. And with each they can do and I have to understand year the age gap between the students and be patient and let them be the best Do you teach the way your gurus taught and me is growing greater! At the they can be. you? same time, I don’t give up on the How is your teaching different from No no, I cannot teach the way my traditional methods and the process the way you learned? What does the gurus taught me; that would never of building strength. We spend almost progression look like? work here. When we were learning three years working on adavus. in India, nothing was given or handed I don’t know if there is a methodology For the past few years I have delegated to us. The guru had to feel you were per se. But there is a system and the training of the youngsters to my worthy of it and deserve to learn a philosophy. For many years I student Vishalini Sundaram. She is it. Everything depended on our followed what I had been taught. I was also a singer and teaches Carnatic relationship with the guru. considered a purist or a traditionalist. music, which is a big asset in teaching I think part of the reason was that we dance. They train with the adavus. It’s Is there a methodology you have always fun for the children to dance to developed over the years, your own did not in those days have the ability music even when doing their adavus. curriculum? to contact, consult or talk with our teachers. We were somewhat isolated. A few pieces like a simple pushpanjali, I have to create this love for dance I also thought then that it was my jatiswaram, mallari, tillana are taught. in the student. Not just the technique responsibility to stay with and be a We also teach a series of nritta pieces or ability but a love for dance. So, keeper of the tradition. I also needed to develop and fine-tune their nritta even if they don’t become dancers I to develop confidence and had to process and develop physical stamina expect that they will love dance and explore and expand the repertoire and energy. When they then come to be connoisseurs and patrons of the art further. This also started happening me I introduce them to some basic form. I have to always keep that in in India and people began working abhinaya with a simple padam like them and make them feel excited and more freely and doing more things— Madhura madhura. We try to do at keen to learn in a joyous and willing not sticking with their teachers and least one varnam till they are ready for way. That is not how either of my their styles. When my Vadhyar passed their arangetram process, which takes teachers taught, not that my teachers away in 1994, there was not much I eighteen months to two years. This were wrong, but that I have had to take could fall back on as far as nritta. is after about eight years of training.

28 l SRUTI September 2020 Everything is new and designed for even mallari is something that has men from a woman’s perspective. each student individually. In this I been added recently to the repertoire. One way to look at it would be that follow my teacher’s philosophy of they gave a voice to the woman. (This We were all fed this information that custom choreographing for each is a very simplistic explanation). And this is a divine ancient form. But it student. Even the same jatiswaram the woman was given the freedom has been completely reimagined and or padam is reset for each student. changed. And I was explaining to to express desire. This was not even They do not repeat any of the items some one that this is not how it was. allowed in the community in which they have already done. They also This is not Sadir and let’s stop saying I grew up. Finally since they are have someone watch them practice, we used to perform in the temples. stories of Seeta or Parvati, they are and give them suggestions on what just about women. So we can express they need to improve and drill them I love the padams and javalis— it and interpret it in any way that with their araimandi and posture; that musically as well as poetically. I works for us. Within the framework process takes a year to a year-and-a- want to teach and share them with my there is a lot of freedom. That’s what half. students. But I have to adapt them to really appeals to me. For instance, modern times. Because my students I was teaching the javali Nee matale The entire psychology and environ will ask me, “Why do I have to portray mayanura to a 15-year old student ment in the US is very different and this spineless woman who is always I have to adapt to that. Students here for her arangetram. Here the woman relying on a man and waiting for is complaining that the man made all have very little exposure and do not him to show up?” They don’t want to imbibe things by osmosis as we used these promises to bring her jewellery portray one of those women. I have but finally he shows up empty handed. to from our environment. They will to find a way to help them explore the also ask questions of me and I have While explaining this to her I said she abhinaya while portraying it in a way could look at it in another way—with to be able to have reasonable answers that feels comfortable to them. for them. a modern twist: ultimately it is about I tell my students that all of these the promise he did not keep and not I have now been teaching in the padams and javalis were written by about the things. When I said that diaspora for three-and-a-half decades. she said “Wow, that is really cool. I wear so many different hats. I V.K. RAJAMANI I really like it!” She got it. Of teach, I am a student, I perform, course not all the pieces are so I am American and I am an easy to stretch that way. But it Indian! I look at dance now is possible, and there are places from so many different angles where you can ‘modernise’ it and perspectives. We have to present the women as being to be aware that most of our strong and principled not performing is done for non- necessarily weak or whining. Indian audiences. So the way we look at Bharatanatyam is quite Similarly with bhakti rasa— different. We are not dancing for how many teenagers here, or audiences that are familiar with for that matter in India, can the art form. wrap their head around bhakti at that age? I think we should think of Bharatanatyam as a modern For me, personally, abhinaya form and stop saying it is ancient is very important. I really want and 2000 years old. The art my students to experience the form is constantly changing and joy of abhinaya. So part of the evolving and adapting. That’s structure is to have them develop the beauty of Bharatanatyam. the ability to write a sub-text. Even over the past thirty/forty That is sometimes the hardest years so much has changed. thing, to have break them out But it all happens slowly and of the habit of regurgitation. Do organically, so we may not not be constrained with the hand realise it. But to keep thinking movements. Originally that is and saying it hasn’t changed…. how we were taught abhinaya.

29 l SRUTI September 2020 Just certain hand movements, you as good a dancer as I that each meant something can. To give you a strong and you repeat it twice and grounding on which you so on. Once I started learning can build. To create a love from Kalanidhi Mami, I for dance, a sense of pride, had to re-choreograph all grace—an understanding my pieces that I had learnt of our arts. But unless there earlier. I was no longer is a goal like an arangetram, satisfied with the formula of the families and the student just the hand movements to do not have the focus. So in show emotions. order to make that happen we have an arangetram. That’s why I break down But I tell my students that every piece I teach depending it is like graduating from on the depth, the vulnerability high school. What you do and the sensitivity of the after that is what really student. Not everyone has matters. the exposure to music or the beauty of poetry or just all In thirty-seven years I may those elements of dance. May have taught 700, 800 even be it is part of getting older! a thousand students! Many But I see more and more elements of At the Music Academy (1978) students come for just a short time as dance, there are a thousand different well. I must have presented about 200 or a padam or spoken words, they can parts to it; and it is not possible to arangetrams. interpret and explore anything. It is teach all of that. Some of it I think only a language. I try to stay in touch with my students our vadhyars depended on us to even after their arangetram. There are learn by ourselves. And I think some What’s the earliest age you take students? a number who are teaching and others students will do so if they want to or We take them at five or six. Lately who are involved either as dancers or they may not. we have been getting even four-year patrons. The rest I think have moved Do you ask your students what they olds. We take them provisionally. The on. Arangetram was just one aspect would like to dance about and what is kids are sometimes so keen that we of their lives. I also teach abhinaya to relevant to them? don’t want to turn them down. But some teachers who come regularly. Oh yes, of course. I work with them we have to make sure they can stay Have you attempted to create an all the time. I also give them ideas and with it for an hour. We don’t want them environment for the Indian arts here? it is a discussion. I bring theme ideas to be overwhelmed and start disliking One statement that Kalanidhi Mami that I want them to think about. I also it. We do not have a curriculum or made to me has influenced my life want them to learn and be familiar sessions in Bharatanatyam for little children like they have in ballet. We and all that I have done; it made with the traditional repertoire that I me feel a sense of accountability. learnt. I try to explain how it could teach the same araimandi and adavus. I sometimes suggest to the parents Decades ago when I told her that my be relevant to them even though it husband Harish and I were moving that they take them to gymnastics is several centuries old; the beauty to America she said “Don’t you also or ballet for a year and then come of the music and the poetry for them go to America and just start teaching back. That strengthens them and also to be able to appreciate. I don’t just dance!” do things completely to suit their builds mind-body connection. Some sensibilities; it is a combination. children are amazing and very focused Now as someone who was taught to even at four! read between the lines of padams and I tell my students that when they javalis, and to go beyond the words of Any thing you want to say about learn abhinaya, it is not about just that the poet, what I derived from Mami’s arangetrams? one piece. Think about the formula statement is that she was telling me that and the technique; they need to I am not a big arangetram advocate. I whatever I do I should do it properly learn that. It is like learning creative tell my student that my goal for you or not do it at all. So for me its been writing. Then, whether it’s a film song when you come to learn is to make about creating the environment for my

30 l SRUTI September 2020 After Ramya’s maiden performance in New Delhi with Ramya and Harishankar with Kelucharan Mohapatra, chief guest Birju Maharaj (1971) presented by Arpana Foundation in 2000 students and audience, and it has been We have staged some fifty we stage productions, how do we get a real challenge in Orange County performances in thirty years. That more people to come? How to get where there is almost no support morphed into Ektaa Center fifteen them to see that Bharatanatyam is a for the arts, and what is there is very years ago so we could have a public language and we try to reach different Eurocentric. space for everyone to teach and segments of the community? So we bring it out of the garages and make have done traditional programmes like So one of the things we did, which I am it available to all artists to use. So Krishnarpanam with songs and stories really proud of personally, is that from we changed the name so it wouldn’t about Krishna, Kumarasambhavam 1992 to 2002, every year, we would be associated with my dance school and Ramayana through the eyes of stage a production and raise money Arpana. the women. Over the years I thought for a children’s charity. Children’s it would be interesting and we have Hospital of Orange County and Make Here you cannot take a discriminating also done collaborations with other audience for granted. What are your a Wish Foundation, Akshaya Patra, cultures since we live in such a thoughts on that and creating an Udavum Karangal in India are some diverse community. We worked with audience for the art form? of the beneficiaries. This was also a other forms of dance and music like good thing for our students to learn Absolutely! We have to create collaboration with Flamenco dancers and become aware that not all children audiences. Even in Chennai there is a and jazz musicians. Mridanga vidwan have all the comforts that they have. niche audience for classical dance and Poovalur Srinivasan was in a jazz band it is even smaller in the diaspora. And and they had created a piece called Having grown up in Chennai with if we have too many performances Sundarar. So we did a programme on so much dance and music, I was they are not going to come. When the story of Sundarar to the music they wondering how to teach the children here who had no exposure to dance? A collaboration in Kure, Japan... I wanted my students to see good dance and interact with professional dancers. So when Kalanidhi Mami came here in 1989 on a tour with a group of dancers, we started with that as the opening of Arpana Foundation, a non-profit organisation, to stage Indian dance for local audiences. I think I was also among the earliest dancers to stage performances by several other dancers as well, and not just Bharatanatyam— like Kelucharan Mohapatra, Birju Maharaj, Kathakali dancers, young groups, huge productions, as well as the Dhananjayans, and C.V. Chandrasekhar.

31 l SRUTI September 2020 traditional Bharatanatyam repertoire and way of choreographing. Can you tell us about your collaboration with Priya Srinivasan on Sweating Saris? Priya and I met in 1995; she used to travel back and forth to learn abhinaya from me. She also went to learn from Kalanidhi Mami in Chennai. I don’t think she had seen abhinaya like that before—the way Kalanidhi Narayanan had taught. Thus started our friendship. Priya then went on to do her Ph.D. and ... With Kinnara Taiko drummers in Ashura then got a job in Riverside, CA. had composed. We did collaborations it was a metaphor for the problems After her book was published we with Japanese Taiko drummers, and and issues women face. I did this had been talking about how to share a Persian orchestra. We did these to and another programme to explore her research and her work. So she asked if I was interested. I am always hopefully make it more interesting and women’s issues—about the hardships game. It took us a long time, as it to attract newer audiences. Veteran and abuse and such. We had an was such an abstract theme. We went dancer and guru C.V. Chandrasekhar interesting process with five of my through several iterations. I went to taught Panchabhootam to my dance dancers. We explored what would be Rotterdam when she was there and company; it had an abstract universal the movements of a young child, we worked with her for a few days. We theme like fire and wind that audiences choreographed it with no music. Babu could relate to. I am always looking worked with Susan Roseman—one of Parameswaran watched and composed her colleagues at UC Riverside who to see what can appeal to wider music for our sequences. This is when I audiences. was helping us direct this. We would began to use Bharatanatyam to explore meet every night on Skype and It has been an entire range of current issues and I did abhinaya to she would tell us what worked and collaborations and efforts using the three spoken word poetry sequences what we should delete. In 2016, vocabulary of Bharatanatyam. I also written by a theatre artist depicting we presented it for the first time in did a project called Ganga in 2005, different aspects like domestic abuse full. We had done bits and pieces inspired by an article I read about that women face. It was the beginning before but that was the first full pollution in the river. It struck me that stages of my stepping out of the presentation.

... Celluloid Classics with Radhika Shurajit Sweating Saris with Priya Srinivasan (2018)

32 l SRUTI September 2020 When you look back is there anything that particularly comes to mind? Getting the choreographic fellowship from the National Endowment for the Arts was something that meant a lot to me at that stage in my life. I had only been teaching for twelve years at that time. They no longer give it to individuals and it is only given to companies now.

What is left for you? My dream would be for somebody to take on the work I have done here and continue it. But I know that is asking for a lot. I am going to continue to give what I have learned to the next generation. I also hope that what I have been doing here has in some way benefited the community; not just the diaspora community but the greater community here in Orange Women in Emotion—a performance of padams and javalis County. n accompanied by Geetha Bennett (2003)

PHOTOS BY SPECIAL ARRANGEMENT

Awards and honours

Kala Seva Bharathi award for arts agency in Orange County CA, for Named “Outstanding artist for 2002” contribution to Indian arts abroad contribution to the cultural landscape by Arts Orange County, (2003) from Bharat Kalachar at their 26th of Orange County, (2007) Choreographer’s Fellowship for 1993- annual Music and Dance Festival, 97 from the National Endowment for Chennai, (2012) LA Milestone Company Award from the Los Angeles County Board of the Arts, Washington D.C. Helene Modjeska Cultural Legacy Supervisors and Dance Resource Outstanding Young Dancer from award given by Arts OC, countywide Center of LA, (2007) Tamil Isai Sangam, Madras, (1978)

33 l SRUTI September 2020 HERITAGE STHALAMS

A triad of Siva temples along the Akhanda Cauvery Sriram V

he Cauvery, as it flows between Karur and Tiruchi, Twidens somewhere near Tirunarayanapuram and continues as such till it reaches Gunaseelam where it begins to branch off as the Kollidam, thereby forming the island of Srirangam. This wide section is known as the Akhanda Cauvery; and located along its banks is a triad of Siva temples, all famed for verse and song. Kalai Kadambar, Mathiya Sokkar, Anthi Venginathar is the oft repeated slogan here, as you are expected to visit all three on the same day and in the same order. Kadambar Koil in Kulithalai is to be visited in the morning, followed by Tiruvatpokki (also known as Ratnagiri An outside view of Kadambavaneswarar temple... or Iyermalai) in the afternoon, and Maragachalam (Tiruingoimalai) in the evening. ...Inside This is easier said than done, for while the first is at ground level, the other two are on hills and can only be accessed by tough ascents. And yet, many savants, saints and singers have done it before us. All three are ‘padal petra sthalams’ in that Tevaram verses have been sung in their praise, the first two by Appar and the last by Gnanasambandhar. There are other common factors too—the first two are linked by the same sthala puranam while the second and third share a common story. Besides, the three lingams point in three cardinal directions—at Kulithalai Lord Siva faces north, at Iyermalai He faces west, and at Tiruingoimalai He faces east. All said and done, these are fascinating shrines that are off the beaten track of pilgrims and are well worth a visit. Kadambar Koil Kulithalai is an hour’s journey from Tiruchi, en route to Karur, on the southern bank of the river. The temple here is small, with two circumambulatory corridors, a single gopuram and a graceful entrance mandapam. The temple today is largely Nayak and post Vijayanagar in its architecture but we do know that it has been in

34 l SRUTI September 2020 existence from Pallava times. A verse here goes by the name describing the Lord Subrahmanya is said to have of the early Nayanmar Aiyyadigal young girl—Muttrilamulai Ammai lost the power of speech owing to Kadavarkon, Azhagu tirikurumbai, or Balakuchambika—she whose his having listened on the sly to Lord testifies to this antiquity. It also gives breasts are yet to mature. Was Appar Siva explaining the pranava mantra to us the original name of this village using the name of the Goddess whose Goddess Parvati. He therefore came as Kuzhi Tandalai—the grove in a shrine already existed in his time? here, worshipped and was restored to depression. In Kadavarkon’s time it Or, as is more likely, when it became normalcy. must have been a beautiful spot by the customary to build sanctums for the river, full of Kadamba (Neolamarckia Goddess in Siva temples, was the In the 19th century, Muthuswami Cadamba or the burflower) trees, name simply taken from the Tevaram Dikshitar visited Kulithalai and which species is also the sthala vriksha and bestowed on the Goddess here? composed his Neelakantham of the temple. Legend has it that Lord We don’t know. The deity here is four- bhajeham in raga Kedaragaula, Brahma worshipped Siva here in the armed and in standing posture, at right Roopakam. The song has plenty of form of a north-facing, five-faced angles to the Lord. references to the sthala puranam and lingam and after his penance bore Arunagirinathar came here in the 15th also some other features of the temple. fruit, requested the Lord to stay on and century and composed a set of verses It alludes to worship by Brahma and bless the devotees. Because the temple on Lord Muruga here. He refers to Muruga, the name of the Goddess, the in relation to the river is in the same the place as Tenkadamban Turai. deity being of five faces and looking alignment as that of the Viswanatha temple in Varanasi, the place is also The entrance to the Kulithalai temple known as Dakshina Kasi. The Lord, He of the five faces, is known as Kadamba Vana Nathar or Kadambavaneswarar or simply Kadambar. A second legend, one that connects the shrine to the temple at Iyermalai, is of the seven mothers (sapta matas) worshipping Lord Siva to expiate for the sin of killing sage Katyayana under the mistaken impression that he was the demon Dhumralochana. The images of the sapta matas are behind the linga in the sanctum itself. The verse by Kadavarkon rather sternly asks us to keep chanting the name of the Lord at Kuzhi Tandalai and not postpone this task to a time when the spirit is leaving our decaying body. It is one of the 24 kshetra venbas composed by this king. Appar aka Tirunavukkarasar came here sometime in the 7th/8th centuries and composed a decad of verses on the Lord. The first stanza Muttrilaamulaiyaal ivalaagilum is set in the form of a ‘pillai kaadal’— calf love in modern parlance. A mother laments at the condition of her young daughter who is yet immature, who on seeing the Lord come out in procession has lost her mind and keeps chanting His name. It is significant that the Goddess

35 l SRUTI September 2020 northwards and also the fact that the place is Dakshina Kasi. In keeping with the close proximity of the river, its banks become the venue for the great annual festival of Tei Poosam, when Lord Kadambanatha along with the Goddess, Ganesa, Muruga and Chandikeswara, proceed to the Cauvery. Deities from seven other surrounding villages join the procession and large crowds gather to witness this divine congregation. The temple’s utsava moortis are fascinating—a beautiful Somaskanda being the main icon. There are in addition two Nataraja moortis—a conventional one, and the other most unusual with arms and feet very differently positioned. The annual ten-day festival of this temple happens in the month of Masi Swaminatha Iyer and the entire (February/March) and includes the text is available on the website usual processions on various mounts. www.shaivam.org. It merits several Sometime in the 18th or 19th century, readings, for apart from the details the chariot of the shrine was made listed above, it is a step-by-step afresh by a Saravana Mudaliar of the description of the procession North Arcot district. The grandeur beginning with the decorating of the with which it moved kindled the deities. Another interesting passage creativity of a poet attached to the in it is one where the divine beings Tiruvavaduthurai Mutt and he created from other shrines are listed as being the Kadambar Koil Ula. This is a part of the procession and their names set of 383 couplets that describes are interestingly given in code—by the procession and, in the process, referring to some popular legends documents the progress of devotion associated with each place. There is to eventual self realisation, depicting a section that describes the dancing it as a conversation between a group women—the devadasis accompanying of women ranging from a young girl the temple chariot as it moves along. (a novice to bhakti), a woman in full The whole work is an amazing word bloom, an older woman and finally a picture—much suited for abhinaya. realised elderly lady. One of the most Kulithalai is now a fairly busy town, significant passages in the work is the and there is no sign of the Kadamba listing of the musical instruments that grove that gave the place its name. accompany the Lord as He sets out in But the river front, which is accessed procession—takkai, udukkai, tadari, by a straight path from the temple, is tavil, bheri, kara talam, turumbu still very charming. Having visited veenai, swaramandalam—along with the shrine and reflected on all its the recitation of the Tevaram and glorious contributions to the world of Vedas. It reminds you of Appar’s performing arts, we shall next proceed Tevaram, where he describes Siva to Iyermalai. at Kulithalai as one who is Sanskrit, (to be continued) Tamil and music. (The author is a music and heritage This Ula, whose author remains historian) unknown, was resurrected by U.Ve. PHOTOS: SRIRAM V

36 l SRUTI September 2020 ORGANISATION

GOLDEN JUBILEE Brahma Gana Sabha V. Karpagalakshmi

rahma Gana Sabha into two groups; each (BGS) turned fifty in programme was conducted B2019. The sabha has twice for two sets of been promoting classical arts, members on two consecutive theatre and also encourages days. The sabha celebrated young performers to showcase its 15-year milestone in their talents. Founded by 1984 by organising a like-minded friends, some of 15-day programme which whom were also the original was inaugurated by the then committee members of Governor of Tamil Nadu, Narada Gana Sabha, BGS S.L. Khurana. was established in 1969. The Entrance arch to the After the demise of M.S. Muthu in sabha was inaugurated on 14 April Brahma Gana Sabha’s season festival 1989, Sethuraman and Pattabhiraman 1969 by Justice K.S. Venkataraman, took over as secretaries. In 1995 after followed by a vocal concert by the Children’s Club and P.S. High School in Mylapore. Later, it made an Sethuraman’s demise, his son S. Semmangudi Srinivasa Iyer. Brahma arrangement with the Music Academy Ravichandran (Ravi), who was earlier Gana Sabha was launched with whereby BGS conducted its monthly a committee member, took charge as Chitra Narayanaswamy as president, programmes there at a subsidised rent, secretary along with Pattabhiraman. N. Sethuraman and M.S. Muthu as and in return, agreed to redesign the Due to the advent of other secretaries and M. Krishnamurthy as Academy’s stage suitably for dramas entertainment choices like television treasurer along with vice presidents and other big shows. Secretary, M.S. and the internet, the membership M.V. Murugappan, Moolangudi Muthu was instrumental in redesigning slowly came down to about 500. In Jayaraman, Nalli Rangaswami Chetti, the Music Academy’s stage under the subsequent years, the membership Meenakshi Subramaniam, Sudharani guidance and supervision of veteran fell drastically, making it difficult Raghupathy, AL Lakshmanan actor and dramatist, R.S. Manohar. for the sabha to survive. In 1998, and a few others like R.K. Tagat, noted industrialist and art patron, Pattabhiraman, Kothandaraman, In the initial years, Brahma Gana Nalli Kuppuswami Chetti, became Viswanathan, Kasi Viswanathan Sabha had 1300 members which soon the president of Brahma Gana Sabha and General Stores Sundaram. BGS grew to 1600, as a result of which the since when he continues to head the initially hosted its programmes at organisation split the membership governing body.

At the Golden Jubilee year celebrations. M. Venkaiah Naidu, Vice President of India, honouring Between 2001 and 2003, Sankar, Malavika Sarukkai as Nalli Kuppuswami Chetti (president), S. Ravichandran and son of Pattabhiraman, also became N. Balasubramaniam (secretaries) and other dignitaries look on one of the secretaries, after which N. Balasubramaniam joined Ravi as secretary. All leading musicians, dancers and drama troupes have performed for Brahma Gana Sabha. It has organised several unique programmes like the duet kutcheri of Chembai Vaidyanatha Bhagavatar and his disciple K.J. Yesudas which was indeed a highlight.

37 l SRUTI September 2020 The sabha has also hosted several Hindustani classical concerts by eminent musicians like sitar maestro Ravi Shankar with Alla Rakha, by Parveen Sultana among others. Apart from classical programmes, BGS has presented several light music events such as Kishore Kumar Nite, Hemant Kumar Nite, and Usha Uthup’s concert, which were held at the University Centenary Auditorium. Brahma Gana Sabha received the A concert during the Nagaswaram-Tavil series ‘Best Sabha Award’ from Mylapore inclusion of the nagaswaram festival. Natakapadmam and Vadypadmam Academy in 1994 and again in For a few years, BGS even held its awarded to eminent artists during its 2001. The Tamil Nadu Eyal Isai December season concerts at three December-January music and dance Nataka Manram recognised Brahma venues—namely Pethachi, Arkay festival. Talented, young nagaswara Gana Sabha as the ‘Best Cultural Convention Centre and P.S. High and tavil artists are also encouraged Organisation’ in 1995. School. However, in December 2019 during the sabha’s Nagaswaram-Tavil To increase their visibility and it was decided to restrict it to the first series which takes place soon after the improve membership, Brahma Gana two venues as it had become difficult December season. BGS conducted a Sabha decided to host the December to manage. competition last year which had 130 music season in 2002 as suggested The secretaries confess that it is entrants, and the winners were given by their president Nalli Kuppuswami because of the munificence of Nalli a chance to play during the series. Chetti. The first year they held a Chettiar that they are able to conduct There has been a reasonably good festival for ten days at the Sivagami the season, as sponsorship in general, response to this from the rasikas. Pethachi Auditorium, Luz Church has come down significantly. The Road, Mylapore, and from the The dance festival has three different resource problem persists also because following year, it became the norm for slots—for juniors, seniors and for BGS, since its inception, decided not BGS to launch the season at the same gurus who run their own schools. BGS to have a corpus fund. venue on 3 December every year has also been inviting dancers from and conduct the festival for 30 days. Over the years, BGS has added north India to perform at their festivals Later, the sabha added a dance series to the list of titles conferred by it, in collaboration with the Central and the number of days increased to which presently includes the titles Sangeet Natak Akademi, though at 45, which has further swelled with the of Ganapadmam, Natyapadmam, times the expenditure on hospitality

38 l SRUTI September 2020 for some of the popular dancers becomes unaffordable, though many of them are cooperative. At times, BGS ties up with other organisations who feature the same artists, and the expenditure is shared. There are many aspirants these days in the various dance genres and the sabha gets a considerable number of applications from within India and abroad, including for their Adi festival. While the sabha generally follows a rotation system to feature artists, it is not strictly followed as they believe in encouraging and promoting young talent. With the dwindling audience Banwarilal Purohit, Governor of Tamil Nadu, launching the new logo of Brahma Gana Sabha response for instrumental concerts, as its president Nalli Kuppuswami Chetti and mridanga vidwan Umayalpuram K. Sivaraman look on the sabha has been forced to cut down on such concerts, though they do get celebrations were launched by Vice culminated in 2019. Brahma Gana applications from instrumentalists President of India, Venkaiah Naidu, Sabha is one of the most respected even from outside Chennai. on 3 December 2018 during the music organisations in Chennai today. music and dance season in Chennai. Brahma Gana Sabha’s golden jubilee The golden jubilee celebrations PHOTOS BY SPECIAL ARRANGEMENT

39 l SRUTI September 2020 (News & Notes continued from p. 12) NEWS & NOTES Light amidst the encircling gloom

he wellspring of Carnatic and Hindolam flowed with melodic concerts seemed to have sweetness. The tukkada section Tstopped yielding as abruptly was packed with delectable pieces, as it started soon after the first Kurai ondrum illai, a folk song in lockdown. As the lockdown period Sindhubhairavi, tillana in Dhanasree went through several extensions, culminated with the English note and the dispensers of such events on the Bhagyada Lakshmi baramma. When web seemed to have shut up shop. Ramani plays on the bansuri, the long Were the paid ones disappointed with flute, its deep tone seems to well up the response? Did the free concert from our hearts and envelopes us organisers get weary? with an intimacy. Gone were the stars and the There were mini concerts galore frontliners. Gone were the full by youngsters and the sisters concerts. The 27-year-old sabha Aishwarya and Saundarya, Nadasurabhi, in the suburb R.K. Srikantan great granddaughters of M.S. Koramangala in Bengaluru started Subbulakshmi and granddaughters of webcasting one-hour chunks of the and soared through the raga alapana Radha Viswanathan, were clocking concerts performed under its auspices and niraval and swaraprastaram for concerts almost every week. The over the years. They opened with Tyagaraja’s Aada modi galade. A sisters rendered a live concert on the concert of the veteran R.K. very judicious choice of the first half Facebook for the Andhra Maha Srikantan, which he had performed of the concert was rounded off with Sabha of South Africa. A marvel for them when he was 82! Age Samayamide in Kedaram. It was as of the globalisation of Carnatic had not withered his voice, nor did complete and wholesome as a mini music—an Andhra Maha Sabha in custom and tradition stale his variety. concert—satisfying and lingering in South Africa bridges two continents the ears. and the singers from Bengaluru At a chamber concert which Another concert webcast by the sabha reach out to the worldwide audience I attended several years ago I was by flautist N. Ramani. This time with their duo concert from the remember him commencing with just it was the second half of the concert, confines of their home. The sisters the dhaivata note. My daughter and I commencing with Nannu palimpa in are endowed with pleasing voices looked at each other in amazement as Mohanam and an expansive ragam- that combine power with sweetness. the raga Nayaki arrived with that one tanam-pallavi in Kapi. Ramani’s Tutored and groomed by her paternal note. Sure enough he started with a mellifluous strains were soothing grandmother Radha Viswanathan, varnam in Nayaki. and absorbing. The ragamalika Aishwarya is the leading voice The concert on the web opened in swarams in Behag, Revati, Ranjani while the teenage sibling pitches similar fashion with the varnam N. Ramani Aishwarya and Saundarya in Darbar. It is incredible how such grand old masters immersed in music can manifest a raga in a few strokes, a single note in this case. The tempo launched in the opening continued in the Nata kriti, Varasiddhi Vinayakam with a brief alapana and crisp swarams. Divakara tanujam with its grand gait lent power to the Yadukulakambhoji raga and Dikshitar’s lyrics defining the planetary deity. Charukesi glowed

40 l SRUTI September 2020 in with equal confidence in both kalpita and manodharma passages. The clear tones and full-throated singing combined with impeccable pathantaram and a religious adherence to every nuance, create the MS aura as the repertoire is from the family treasure chest. On this occasion they chose to present a concert entirely of Syama Sastry compositions. Opening with the sonorous swarajati in Yadukulakambhoji, the Todi swarajati A scene from Anjaneyam formed the main piece with detailed alapana, niraval and swaraprastaram. the listener in. Saketharaman started and variety of the movements and Studded with appealing pieces like with a two-line viruttam in a film, in visuals. The dancers were drawn Mayamma, Devi brova samayamidey, the raga Anandabhairavi, and stepped from Era Dance Theatre (Singapore), and Nannu brovu Lalita, the concert over to a viruttam in the same raga. Kalakshetra Repertory Company scored high on the selection and The familiar Abhirami Antadi verse (Chennai) and Bimo Dance Theatre juxtaposition, a cardinal feature of Dhanam tarum kalvi tarum in the (Indonesia). It presented a script that MS concerts. emotional rendering wove visions of combined the Indian and Southeast Building a musical bridge to the the grace bestowed by the Goddess. Asian versions of the epic through a cyber audience of today, Carnatic As Saketharaman delved into the juxtaposition of Bharatanatyam and vocalist Saketharaman launched a lyrics and the raga in each word and Javanese classical dance. The mega web series tilted Cross Over. Some combinations of words and phrases, production exploited the potential talk, some film music, and a good he led the listener effortlessly into the of the multilevel stage, backscreen dose of Carnatic music, the combo realm which he went on exploring. projections, variety in costumes is a vibrant mix designed to get the Any dancer listening would have and the vigour of the movements. layman interested and break down been moved to rise and sway with the Abhinaya was highlighted by the barriers of elitism attributed to melody, mood and word, building his highly competent individual dancers. appreciation of Carnatic music. You or her own vistas. Alarmel Valli’s short programme, must hand it to the multitasking gen A unique cross-cultural production presented by NCPA, led the viewer when it comes to communication. Anjaneyam, Hanuman’s Ramayana, into the love and bhakti poetry of While it knows its stuff, it also knows with the concept and direction by the 15th century Telugu composer how to put it across. It is more than the Apsaras Arts Dance Company Annamacharya. This was part of the a marketing sales pitch. It is an of Singapore owed its appeal to full-length programme, Is there some empathetic extending of hand to draw the novelty and the absorbing pace way I can reach you? created for

Saketharaman Alarmel Valli

41 l SRUTI September 2020 the festival Stark Raving Mad: The sedate pace with sahitya for all the Mudra Festival of Dance and Bhakti swarams in dance. An out and out Poetry, curated by poet Arundhathi bhakti varnam, this was presented by Subramaniam. Alarulu presented a Anagha in the traditional format with vision of goddess Alamelumanga short jatis, taxing, nevertheless. Her as a young maiden dancing around, perfection in every stance, movement exuding beauty and joy. Valli had and facial expression, bore testimony composed this as a visual delight rich of years of training and honing under in graceful nritta. What followed was two pairs of watchful eyes of her in stark contrast. The entire body parent-teachers. It is not easy being language changed and lo and behold the child-pupil of star performers. there stood a devotee bent in a stance Anagha danced with surefooted of devotion and agony to reach his power and grace and subtle abhinaya, Lord. Soaked in emotion, this song Arundhathi Subramaniam a credit to her gurus. Edupaayamu (by what means) aptly Music of a remarkably high order, The passing of the Bollywood couched in the heart tugging notes of planned, composed and customised choreographer Saroj Khan made Charukesi, was all satvika abhinaya, to Valli’s requirements was the me revisit some of the popular where the heart of the dancer speaks binding agent to this visual and aural numbers choreographed by her. directly to that of the viewer. The experience. fluidity of Valli’s hand gestures went with the lyrics, the music and the Anagha Gauri, daughter of the sentiment. Devoid of the clear-cut dance-couple Anuradha and Sridhar demarcation that separates word from of Bengaluru, proved to be a chip word, phrase from phrase and line of the old block in the short varnam from line, the hands imperceptibly recorded for an organisation in transformed and transported from Philadelphia. The Natakurinji one mudra to another, one gesture to varnam Chalamela by Moolaiveettu another. The alapadma and pataka Rangaswami Nattuvanar is a lovely held at the midriff flowed into the gem of the composer on the Lord at intertwined mushti above the head Srirangam. Popular in vocal concerts, and descended to the brow, denoting sung in the medium tempo of a the burden of repeated births and the tana varnam, this blossoms in its earthly bondage. Unless the dancer full beauty as a pada varnam in the Saroj Khan is immersed in and out in the song Anagha Gauri and sentiment—this magic would The high-speed dances, which must not be possible. Valli concluded with have been shot in small spurts, Elinavadu, which she transformed still speak of the stamina and well- into a javali in a swinging Behag. trained physique required to execute The entry was the jaunty stride of a those numbers. Composing for the happy and proud nayika, skipping unforgiving eye of the camera, for and twirling, boasting of her lord and the long and mid-shots and close master who is her slave. It brought ups to fuse into an uninterrupted to mind the famous lines uttered flow of movement with music, is by Ferdinand about his slavery an incredible feat. The saucy Ek under Miranda, his lady love, in do teen by Madhuri Dixit was high Shakespeare’s The Tempest. energy dance in total abandon with The mistress which I serve quickens every movement perfect and comic what’s dead expressions to go with the lyrics. And makes my labours pleasures. Dola re by the divas Madhuri Dixit and Aishwarya Rai swayed in duo Arundhathi Subramaniam’s perfection. Sridevi’s Mere hathon reading of the poetry, a performance mein was the exuberance of youth in itself, ushered in the mood and personified in every shot. But my a happy anticipation of the dance. favourite is the Radha kaise na jale

42 l SRUTI September 2020 from Lagaan with Aamir Khan and the young Gracy Singh. The simple lyrics with the rustic music by A.R. Rahman present a whole drama between the lovers amidst a swirling group of dancing men and women doing the garba. Gracy Singh, trained in Bharatanatyam and Odissi, is an epitome of grace in every movement and expression. That Saroj Khan Mudikondan Ramesh and Sowmya has built in a suppressed sob by her in response to Asha Bhonsle’s literally becomes the voice vocalising instinctive emphasis for Kaise na every gamaka and enunciating every jale is a fleeting moment of exquisite syllable of the sahitya. One could beauty. literally hear the refrain Kadamba A string of concerts organised as vana nilaye in the swaraprastaram Chaturmasya Nadasamarpanam variations. Wish the tanam had by the Srimatham of Kanchi in been longer. Nowadays we rarely collaboration with South Zone hear the vainikas sing the lines. The Cultural Centre, offered varied appeal of this paddhati was seen in fare such as vocal and instrumental Sowmya singing the pallavi of the concerts, bhajana, and Harikatha. compositions. In a concert of a little The Strings Attached concert by over one hour, they had packed as the couple Kumaresh (violin) and many as seven items, in excellent Samadipta Mukherjee Jayanthi (veena), probably shot in pathantara and tempo. This concert, without any accompaniments, was Every morning as I enter the a studio, had a novel arrangement kitchen, I find my musician has on dais where the musicians and the a chamber concert recorded at home. The announcements by the already arrived and has been singing three accompanists—Jayachandra nonstop for hours. The kuyil from a Rao (mridangam), Giridhar Udupa main players in both the concerts mentioned above were not audible neighbouring tree serenades while (ghatam) and Pramod Kiran even though Kumaresh spoke through I sauté and simmer on my stove. (morsing)—were seated in a single a hand mike. The warbling goes on loud and row facing the camera, may be to clear in the stillness of the Corona- convey the equality among artists. A WhatsApp forward brought bound neighbourhood long past my Commencing with the bright and the mindblowing vocal rendition lunchtime! brisk Ganapatey in Hamsadhwani, of Mozart’s 40th Symphony in G the main item Sankari sankuru in Minor by the young girl Samadipta SUJATHA VIJAYARAGHAVAN (Writer, musician and dance scholar) Saveri followed. The alapana was Mukherjee in sargam (swara interestingly and convincingly built notations). Traversing effortlessly up in alternating phrases by the through all octaves, strings of notes violin and the veena. In the lively in the oddest combinations in If you have not received the Chandrasekhara set to music in high speed, Samadipta captivated July & August print editions of Yamunakalyani by Kumaresh, and the by her modulations captured Sruti, inform us immediately quaint tillana in Kapi composed by from the violin. It was a save the duo, the tonal purity and clarity in and savour delicacy, enchanting at [email protected]. all the octaves made the ragas dance in flavour every time I heard it. So that we can send you the on the strings. Guessing that she was a trained replacement copy Saveri was also the piece de musician, my surmise that she The April & May combined resistance in the veena concert by was a violinist was not right; the issue can be read online only Mudikondan Ramesh and Sowmya. ease with which she played on The kriti was Sree Kamakoti Peetha the harmonium made me realise Visit www.sruti.com and sthitey by Mysore Sadasiva Rao. her source of swara knowledge. click on the Sruti Box section to Ramesh’s veena is a no fuss, no frills Hope the instrument comes back read this issue gayaki style affair, where the veena and regains its old glory.

43 l SRUTI September 2020 SWARADEVATA-RISHABHA (RI) 44 l SRUTI September 2020 S. RAJAM’S PAINTINGS

Saptaswara devata: Ri Sumithra Vasudev

allinatha, a commentator In current practice we have three placed nearby. Gayatri is Rishabha’s of the Sangeeta Ratnakara varieties of rishabha swara—suddha, chhandas. of Sarangadeva, gives chatusruti and shatsruti. It may be said K His birth star is Chitra, belonging to derivations for the names of each of that even today the deep or majestic Tula rasi. These and his devata age of the saptaswaras based on grammatical tone of rishabha stands out mainly sixty years have been incorporated on principles, which he says were based in the ragas that employ chatusruti the top right, along with the bull (also on the idea of ancients like Matanga rishabha. Nevertheless this is not called rishabham), which is the animal and others. As we know, the first of to say that the other two varieties of whose sound is associated with this the seven notes in an octave is named rishabha do not share those melodic swaradevata. ‘shadja’, and the second ‘rishabha’. characteristics. It is quite difficult According to Kallinatha, shadja is to make any conclusive or objective Rishabha is a Kshatriya, of Atreya so named—shannaam svaraanaam points in this regard. gotra lineage, and belongs to the rishi janakah—that which is the source of vamsa as represented by the rishis In S. Rajam’s visualisation, the the (other) six swaras; or that which Brahma and Atri in the foreground. rishabha devata is slim and has a light is produced from six parts (of the The date palm is the tree ascribed to yellow complexion. He wears the body)—namely nose, throat, palate, Rishabha, and this is represented by agaru on his forehead; his garment chest, tongue and teeth. a few dates strewn close to them; and is yellow in colour, and we can see the colour green is reflected in the land In Carnatic music practice today, the artist’s hand in the motifs and mass. shadja is one of the fundamental border decorating it. Around his neck swaras. It is also called prakriti or the swaradevata wears a blue gem- Monday, the second day of the week, avikrita swara as it does not have any studded necklace, and a garland of is the day ascribed to this second varieties of its own like, for example, champaka flowers. He has three pairs swara of the saptaswaras. of hands—the main pair is bright the rishabha (suddha, chatusruti), and With inputs from the gandhara (sadharana, antara). while the other two pairs can be seen Gayathri Sundaresan and S. Janaki Shadja is taken as the fixed swara as a shadow in the background. In one in the octave in relation to which all of his right hands he wields a short (The author who is a Carnatic musician and knife, kuruvaal (in Tamil), and in his scholar, has a doctorate for her dissertation the other swaras are arranged. Most on the musical compositions of Ramaswami, of the melodic scales have shadja as left a bowl of payasam or kheer, his Balaswami and Subbarama Dikshitar) the beginning swara. And that is the food. He emanates the raudra and reason why we too commenced with veera rasa, evident in the facial the saptaswara devata ‘Sa” in the expression—embellished by the ruti enewal August issue of Sruti; the letter also extended white of the eyes in all S R symbolises the melodic tone of shadja. his three faces. Sruti renewal reminders will The second swara of the octave is Rishabha lives on Saha island now be sent via email to the rishabha. Kallinatha explains its and is seated on his vehicle, email id you have provided derivation as—prapnoti hridayam the lion; while his kinnara wife at the time of subscription. seeghram—that which reaches the (depicted with wings) flies to Kindly watch out for reminders heart very soon, easily. It is possible his left. after 15th of the month. that the melodic sound of this swara The four-headed Brahma, was associated with a deep and holding a lotus and a kamandala If you would like to intimate sonorous tone which is why rishabha in his hands, who first sighted a change in your email id/ is also described as ‘just like the bull him, has been depicted by register a new email id stands majestically among many the artist on the top left of the please email us at cows’. ‘Ri’ is the letter that symbolises painting. Ri, the swara written [email protected] the melodic tone of rishabha. in Tamil and in Devanagari, are

45 l SRUTI September 2020 FROM THE EDITOR Will there be a December season this time? Is it going to be Announcement really live or online? Who could be the lucky awardees? Such Requesting you to kindly avoid queries doing the rounds among rasikas have been set to rest with sending money orders or cheques the sabhas declaring their broad intentions about conducting and use only bank transfer OR online the season in the gloomy scenario created by the Covid-19 payments for subscriptions/renewals pandemic which has shown no great signs of abatement. There is time enough for them to work out the finer details. until further notice. “We are very particular to keep up the unbroken tradition of our Bank transfer details annual music season from 1928. The only difference is that the Account Name : The Sruti Foundation format will be different and also of a shorter duration. We will not have all the features and trappings of a full season in these Account Number : 006010101221026 extraordinary times. It will be an online or digital music festival. IFSC Code : UTIB0000006 We do not want to expose our musicians, members, and the rasikas to the dangers of the virus,” says N. Murali, president Bank Name : Axis Bank of the Madras Music Academy. The Academy plans to feature Once transferred please send us junior, sub senior and senior musicians, but will not have day- the UTR number and name long concerts, nor the morning lecdems. Rasikas are going to miss the Dance Festival this time; and most disappointing is the fact that no awards will be presented this season, including the Sangita Kalanidhi! art has helped them scale peaks. Carnatic vocalist Gayathri The Federation of City Sabhas too is drawing up plans to face Venkataraghavan, through her perseverance and dedication, the challenges and conduct the season for a fortnight by making has made a remarkable comeback after a hiatus and has earned good use of technology. It is commendable that the big member a place among the top women vocalists with a large fan- sabhas in the metropolis have finally come together to present following. Bharatanatyam dancer-teacher Ramya Harishankar, a composite season under one umbrella—in the digital format. has while remaining steadfast to the teachings of her gurus, Music concerts with accompanists and dance programmes are to made adaptations to create a love for the art and sustain to be held in the evenings, and the programme feed will probably propagate it over decades in a conservative place like Irvine, stay on for 24 hours for people in various time zones to relish in the U.S.A. it. Concerts may be ticketed with preference given to members. The entire surplus will go to the Artistes Welfare Fund created Besides reports and reviews on several online programmes, by the Federation. However, no awards this time, but lec-dems we present the first part of a triad on Siva temples along the yes. So sabhas and rasikas can now gear up to enjoy the digital Akhanda Cauvery—on Kadambar Koil—a sthalam rich in verse season 2020. and song. There is also a crisp account about the Brahma Gana The Lalgudi siblings too have planned to celebrate online the Sabha which celebrated its golden jubilee in 2018-19; a story 90th birth anniversary of their multifaceted, famous father- long due, which got delayed further by the pandemic. Rishabha, guru Lalgudi Jayaraman, which falls on 17 September 2020. second in the series of the saptaswara devatas, finds a place in The logistical feat behind “Lalgudi-90” is being coordinated by the section on S. Rajam’s paintings. Lalgudi G.J.R. Krishnan and Lalgudi Vijayalakshmi, under the auspices of the Lalgudi Trust. They launched a new YouTube In the passing away of Sangeet Martand Pandit Jasraj, channel called “Lalgudi Jayaraman - God of Violin”, and the music world has lost a towering personality of the have been showcasing video tributes from disciples of the late Mewati gharana, whose contributions to music are maestro. A befitting lineup has been drawn up for the grand manifold. He drew audiences worldwide with his melodious, finale on 20 September. emotional, and sonorous music, incorporating haveli sangeet, and Jasrangi jugalbandis. He is no more, but his music is In the September issue of Sruti, we feature two very talented immortal. artists whose sincerity, commitment and passion for their S. JANAKI

Contributors this month

Gayathri Sundaresan Lavanya Rajagopalan Shankar Ramachandran Sujatha Vijayaraghavan S. Janaki Meena Banerjee S. Sivaramakrishnan Sukanya Sankar V. Karpagalakshmi Padmini Ganesh Sriram V Sumithra Vasudev

46 l SRUTI September 2020 47 l SRUTI September 2020 Registered with the Registrar of Newspapers for India under No. 69945/1994 *Regd No.TN/CH/(C)/298/2018-2020 48 Date of Publication 1st week of every month and Posted on 7th. Licensed to post without prepayment under License No. TN/PMG(CCR)/ WPP-142/2018-2020