Making music for dance
RUPA SRIKANTH
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Sumitra Nitin’s presentation was informative and had many surprises.
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INNOVATIVE ATTEMPT: Neyveli Santhanagopalan, Bragha Bessel and Sumitra Nitin.
A rare audio recording of the legendary dancer-musician Balasaraswathi (‘Sada Balaroopapi’, Hamsadhwani) opened Sumitra Nitin’s lecture on ‘Music of Bharatanatyam’ for the South India Heritage Lecture Series. It was followed by an exhaustive presentation on the history of the music for Bharatanatyam, with particular reference to the musicians, hereditary nattuvanars and the repertoire.
That music is integral to the art form is a given but Sumitra underlined its centrality through skilful live demonstrations and priceless audio recordings. While a briskly rendered Arabhi kriti, ‘Amba Sauramba’ by Aruna Sairam brought out the melody and innate rhythm of the music of the Tanjore Quartet, veteran Vyjayanthimala Bali’s rendition of the charanam of an uncommon Khambodi swarajati (‘Kaana Aavalaanen’) again by the Tanjore Quartet, demonstrated the composers’ versatility and the dancer’s emphasis on the musicality of dance.
The singing aspect
Clippings of stalwarts such as Subbaraya Pillai, in the process of teaching a Bhairavi varnam in Pandanallur, brought out his mastery over music. Glimpses of Alarmel Valli’s music lessons with the legendary musician T. Mukta drove home this point. A sample jati intoned by Vazhuvoor Ramiah Pillai himself, crisp and musical in its delivery, brought out the beauty in the choreography of old masters. It was interesting to note that there was only one mike for the entire orchestra those days!
Another gem was the M.L.Vasanthakumari recording of a charanam line ‘Taayige Baayalli’ from ‘Krishna Nee Begane,’ (Yamunakalyani) complete with niraval. Senior dancer Bragha Bessell’s sensitive abhinaya of this piece enhanced the experience.
A bit of history
A detailed look at the Bharatanatyam repertoire starting with Melaprapti, Todayamangalam, Pushpanjali, Mallari, Alarippu, Kavuthuvam, Jatiswaram, Sabdam, Varnam, Padam, Javali and Thillana accommodated audio or video clippings for each. Sumitra’s sample rendering of some of them — Todayamangalam (‘Jayasudha Purivaasa,’ Kedaram, Vazhuvoor bani), Mallari (Gambhira Nattai, khanda gati triputa talam), tisra alarippu and Chokkeswar Kavuthuvam in misra chapu and the Rasikapriya Jatiswaram (Lalgudi Jayaraman) — were delectable. She intelligently layered the theoretical aspects with demos of senior artists or clippings of legendary musicians and nuttuvanars that brought alive her words.
Bharatanatyam has its roots in temple rituals. Eminent guru Kittappa Pillai spoke of the Navasandhi Kavuthuvam being performed for more than seven generations near the Dwajasthambam as part of the Thanjavur temple’s Brahmotsavam. A clipping of veteran Rhadha performing a Kalyani Jatiswaram, a Vazhuvoor choreography, showcased an item that is fast disappearing from the performance arena.
Another relic is the Sabdam. Its musicality was brought out by Balasaraswati’s orchestra in ‘Deva Devanum’ (Khambodhi, misra chapu). The notes of a clarionet are distinct in this recording, besides the usual melody-rhythm ensemble. The sumptuousness of the orchestra was followed by a melodious but stark recording of Guru Adyar Lakshman’s niraval-filled pallavi in ‘Mohamana’ varnam. However, both maybe considered musical treats in their own contexts. They were brought alive by Bragha’s delicate handling.
Of the early Bharatanatyam compositions such as Dhruva, Jakkini, Prabhanda and Perani, only the Padam has survived… especially those of Annamacharya and Kshetragna. Ninnu Joochi’ (Punnagavarali padam, Kshetragna) rendered by Brinda and Muktha, and performed with finesse by Bragha, was one of the high points of the morning session.
There have been additions to the Bharatanatyam repertoire as well. The Mallari for instance, earlier heard only in temple processions, has been brought into currency. A clipping from Priyadarsini Govind showcased the modern interpretation. The icing on the cake was the finale- a live collaboration of two senior artists — Vidwan Neyveli Santhanagopalan and Bragha — who presented three bhava-laden pieces. The bhava-drenched music and the sensitive visualisation tore down any reservations about the ’modernisation’ of art today.
Sumitra is the daughter of scholar Sujatha Vijayaraghavan and a senior disciple of Rhadha and runs her own school, Natyasruti in Bangalore. where she teaches both music and dance.One is sure she would have converted many die-hard music lovers that morning!
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