Art and life were inseparable for Bala
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To address her as the Queen of Abhinaya will not do full justice to the multifaceted talent of Balasaraswathi, says senior disciple NANDINI RAMANI.
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AT A recent dance symposium in Mumbai, senior Bharatanatyam teacher and musician Adyar K. Lakshman, while explaining the importance of nattuvangam and music as integral parts of dance choreography, expressed his great regard for the art and the musical genius of the legendary Sangita Kalanidhi T. Balasaraswati and said that Bala was unique and she was someone very rare and special in the annals of dance history. This generous statement coming from a respected teacher like Adyar Lakshman, kindled warm memories of that great personality under whom this writer was a senior disciple, and cherishes the close association she was fortunate to have for three decades.
Indeed, Bala was unique in many ways, as a person and as an artiste. She was endowed with a rare blend of in-built spirituality and creative genius, both of which she combined with utmost Auchityam or propriety and extended a unique touch to her art. For her, life and art were not separate entities. She breathed music and dance and meditated on them all through her life. She never danced to satisfy the audience and was uncompromising.
As a firm adherent to tradition, Bala always said that she never dared to do anything in her dance that would displease her mentor, the stern teacher Kandappa Pillai. In fact, while teaching, if she had to dwell on any rhythmical section, she would say, "I shall not touch the Thattukazhi for it has to be handled only by master". She always indicated the beats by the clapping of the hands or keeping time on the lap. Such was her reverence and utter devotion to her master. Kandappa was a choreography genius, who at the advice of Jayammal, Bala's mother, paved for the young Bala, a path of hard work and absolute devotion to her technique.
In a review in the Magazine, Sound & Shadow, of her performance at this city as early as 1938, V. Raghavan, under a pseudonym, "Bhavuka," wrote: "Young Bala's nritta was outstanding, while her abhinaya required further training... " Such was the unique quality of nritta in this tradition, underlined with an impeccable footwork, and exquisite execution of the fire like Jatis of Kandappa which were hallmarks of Bala's technical prowess, as recollected by Bala herself during her classroom sessions with her students at the Madras Music Academy. Hence, to address her as the Queen of Abhinaya alone is not fully justified for the technical excellence of the rigorous Kandappa formed the strong base for her and Bala explored it extensively in her abhinaya manifestation.
Many may not know that Bala had to struggle with health problems at various stages of her life; but these never deterred her from reaching the top. Once she was on the stage, Bala would become a live wire and generate the right response from the learned audience whom she always respected. Her advice to her students was, "Beware! There will be somebody in the audience who may be knowing the art and watching you with a critical eye; so try to do the best until you are satisfied for yourself."
As a person, Bala was often misunderstood as being arrogant; the fact is that she could not tolerate ignorance and a genius herself, she was always looking for people who could really understand things at her mental level. However, to understand Bala's colourful moods and emotions and cope with her, one has to stay close to her for decades with perseverance and patience.
Bala's abhinaya technique was highly aesthetic that rose above all mundane considerations. This was possible for Bala, whose mind was bent on higher values of the art. Her art was nothing but a visualised form of music of the high order. It might be interesting at this point, to learn of this episode that happened years ago. Bala was commissioned to represent India in a festival abroad. She landed at Delhi with her musicians, after equipping everyone with the necessary warm clothing, etc. Due to some unpleasant development, the Ministry informed Bala of the cancellation of her trip. Bala was quite disappointed. However, she gathered all her strength to dance at the capital, as per prior commitment, on the eve of her departure. Humayun Kabir, Minister-in-charge, attended Bala's concert and witnessed her doing the padam, "Varugalamo." The Minister was overwhelmed. The following day, things turned favourable for Bala and she left on that tour as planned. Later, Bala learnt that the Minister expressed, on seeing her performance, that this was the artiste who should represent our cultural heritage to the outside world. Such was the power of her abhinaya, which could melt the hearts and disintegrate forces that constantly crossed her artistic path.
Recognition came to Bala only in her late forties. Her constant words of wisdom were, "Do your duty and do not bother for the outcome." After almost two decades of her passing away, if a dancer could live in the memory of the rasikas for so long and forever, it can be only Bala. When institutions came in to foster the art of Bharatanatyam, Bala stood firmly as an institution within herself, and strove to uphold the torch high as a solo dancer all her life. It required a Bala to prove to the world and make them realise the greatness of the art through her constant, magnificent presence on the stage.
The Music Academy and Bala were inseparable. She performed for this prestigious platform continuously for nearly three decades. She carried the legacy to such heights that none of the other traditional dancers of her days could achieve. It was her highly aesthetic performances that brought the right respect to the art. Such was her perseverance and commitment to her art.
It is said that Bala never created many students. But the fact remains that Bala never cared for quantity. A few of those who cherish and follow her tradition have been given the best of her technique and artistic values. For those students who had been with Bala for long years, her excellent music, extraordinary abhinaya and undiluted Nritta, and above all, her lofty goals towards her dance would remain forever a glorious path of knowledge.
When Bala taught at the Music Academy, the classes would be frequented by illustrious musician friends, Harikatha exponents, prominent dancers, great critics, connoisseurs and almost every renowned personality from various walks of life, apart from visiting dignitaries.
For all of them, Bala remained the same simple, unassuming, majestic woman, who readily responded to their request and danced a Padam or Slokam, creating an atmosphere of absolute tranquillity.
Although the whole world of art was watching her with great admiration and wonder, Bala was always her own self, easily reachable at times and tough at other times.
As an artiste, she stood high and magnificent, away from all petty cries of jealousy and controversies.
For her, nothing was greater than her art. It was a realisation to her students that their stern teacher was a unique artiste and one of a kind in the generation of artistes to come. That was the matchless status of the one and only Bala!
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