The dancer’s constant backwards

The dancer’s constant backwards

As daughters of the Music Academy functionary V. And even while Bala was not initiated formally as a temple dancer, her bhakti and sringar were dedicated to the temple and the Gods and her arangeetram was in the Kancheepuram Kamakshi Amman Temple. The Friday music soirees in her house with her veena playing had Chennai’s musical luminaries arriving a night before, so as not to miss the concert. Raghurama’s simple unornamented mridangam support.Nandini mentioned Bala’s unpredictable temperament, amiable and warm one day and carpingly taunting in another. Bala herself, a master musician, remains the only example of an extraordinary dance talent being conferred the Madras Music Academy’s highest music title of "Sangita Kalanidhi" (1973). Nandini’s daughter, Sushama, an evolved dancer since one last saw her, had the same constant movement, walking forwards and backwards, including a stylised, post-Bala stage entry. Raghavan. The style of rendering the words in the Sindhu Bhairavi Javali "Mosajesene" was very Hindustani-like. Begade metamorphosed into a Hindustani/Carnatic fusion. The next Swati Tirunal Padam in Kurinji "Aliveni endu seyyan" describing the heroine pining for Lord Padmanabha, while convincing, lacked the same impact. Similarly, Lavanya Anant — "Jagadodharana" in Kapi — showing the great fortune of Yashoda in mothering the Creator of the Universe Himself, in a constant contrast of Krishna as the macro and the micro presence, was done with great finesse.

Conceived and spurred by the drive and initiative of board members Dr Sonal Mansingh — now member of Parliament and Dr Padma Subramaniam, the scholar, the Padamanjari event was curated by Balasaraswati’s ardent disciple, Nandini Ramani, art critic and daughter of the late scholar and the staunchest of Bala’s supporters, Dr V. The dancer’s constant backwards and forwards movement was in the typical Bala mode. And after this came the Virutham, Alarippu, Jatiswara, Sabdam, Varnam, Padam, Javali and Tillana. Venkatasubramaniam’s nattuvangam and R. Only after laya was perfected, were hand movements taught with "adavus" (movement units which form the alphabet of Bharatanatyam). Nandini Ramani, whose training at the T. Pandit Birju Maharaj, who had the great fortune as a youngster of staying with Bala’s family for 22 days, referring to her abhinaya prowess, remembered her depiction of "Krishna nee Begane Baro" — when the mind’s eye of the viewer saw Krishna in the void. The Kamas "Janaro ee mohamu sahimpalane" showed the Maach Kamas influence of Hindustani music. After this, Dharmapuri Subbarayar’s Javali in Kamas became an overkill, cutting into time for the last dancer, Divyasena Haribabu, who waiting in her costume finery, had to present her item "Idaivida vendumo Sakshi?" the next morning.The Padamanjari began with some idea of the Bala technique of abhinaya with Nandini presenting "Ella arumaigalum ella perumaigalum" in Todi ragam, wherein the Uttama Nayika, intrigued by the husband’s indifference, wonders if somebody has poisoned his mind.

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