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The power of experience
ANJANA RAJAN
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Yamini Krishnamurti on her recent performance tour to Japan.
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Photo: V.V. Krishnan
Some things money can’t buy Veteran dancer Yamini Krishnamurti feels experience is an invaluable asset for an artiste.
Debates about age versus maturity in artistes continue to flare up now and again. Indian classical dance and dancers are judged from two divergent points of view. At one end of the spectrum is the view that a dancer’s career is a short one, and
that all dancers should retire from the performance circuit on reaching middle age. Audiences who feel this way marvel at the young dancer’s agility, svelte figure and attractive looks.
At the other extreme are the proponents of the age and experience theory, believing that an artiste can only convey the subtleties and philosophical heights contained in the dance after spending a sufficient number of years in this world. Thus, the older a dancer gets, the more mature the abhinaya, feels this group. And veteran dancer Yamini Krishnamurti has seen undisputed success at both ends.
Now leading a quiet life and seldom seen on the stage, the prima donna of yesteryear was recently invited to Japan to perform at some special events connected with the celebrations of 50 years of friendship between India and Japan.
“The response was very appreciative,” says the veteran, adding, “They wanted only traditional items. Three of my students also danced, and my sister-in-law who is Japanese did all the compering.”
Only serious stuff
Although the exposure to Bharatanatyam and Kuchipudi may not be as much in Japan as in, say, France, she feels there is scope for the Indian Council for Cultural Relations to organise many more such programmes.
“They do have a choice,” she points out. “They wanted only serious stuff. They felt there was a spiritual expression in our dance, which they like.”
Performing traditional compositions from the Bharatanatyam and Kuchipudi repertoire, such as alaripu, kauvutuvam, jatiswaram, and others, the group did not feel a distance from the audience.
“The appreciation was so warm and nice, we felt they do understand.” Her vintage piece, the Manduka shabdam, which tells the story of Mandodari who became Ravana’s wife, was one of the highlights of the tour.
Known in her heyday for her magnetic eyes, which could draw a mesmerised spectator right to the stage, Yamini mentions a Japanese viewer this time, on whom she had a similar, though less dramatic, effect. “I noticed a man was just drooping, but he brightened up — he woke up!” she laughs.
“I did one haiku too,” she relates. Explaining it, she comments, “They (Japanese people) have suffered a lot — earthquakes, etc. But they keep their tragedy under wraps. This haiku called ‘The Dragonfly’ is about a lady whose son has died. He used to catch dragonflies. It is very beautiful.”
She feels the ICCR should take care when sending performers to various countries. “If a good performer goes, there is an impact,” she points out.
It was her maturity as a dancer that appealed to the Japanese audiences, she says. “The Japanese said we find the experience in you.”
Her closing remarks cannot be disputed. “One cannot buy experience. That’s what is important in every field.”
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
