My Favourite Raga
Shanta Dhananjayan: Wide repertoire
“I have so many favourite ragas and enjoy each one depending upon the situation or expression they depict,” begins Shanta Dhananjayan.
“For instance Kaanada. This raga can express pathos or anger according to the theme and musical composition chosen.” ‘Alaipaayude Kanna’ is a beautiful piece and I love to hear Bombay Jayashree sing it. When I perform the padam ‘Chaarumathi Upa Chaaramuletike’ in the raga, I prefer to express the raga bhava, rather than the meaning of the lyric. The combination of meaning and melody heightens the appeal. Kaanada also brings to mind maestro Ramani, playing the rage on the flute. He played for my arangetram in 1960.”
“Next come Desh and Sindubhairavi that evoke a sublime feeling. Talk of Bhakti, integral to classical arts, Kedaragowla and Kharaharapriya are the perfect choices. They help accentuate the feeling of surrender to the divine,” she continues. “Tyagarajaswami’s ‘Pakkala Nilabadi’ in Kharaharapriya sung by MS amma and Gopalakrishna Bharati’s ‘Innamum Orutaram’ rendered by D. Pasupathi sir and ‘Andaraama Soundaryam’ from Arunachala Kavirayar’s ‘Raamanaatakam’ in Kedaragowla (taught to me by Dr. S. Ramanathan for our production ‘Raamanaatakam’) move me to tears.”
A singer too
“M.S. Ramadevi and I were known for our singing prowess during our days in Kalakshetra. When our guru Rukmini Devi came up with the Ramayana series, she had cast both of us as Lava and Kusa. And I remember vividly, the scene would begin with Lava-Kusa singing the Valmiki Ramayana in the court of Sri Rama. It gave us the opportunity to learn those amazing compositions from stalwart Mysore Vasudevachar and later, we practised them under the guidance of Pasupathi sir and Adyar Lakshman sir,” reminisces Shanta.
“Music was an integral part of our life in Kalakshetra. Naatya to me is music of the body and mind. If I am born again, I want to be a musician,” she concludes.
CHITRA SWAMINATHAN
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