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 Super Seniors' twinkling eyes, expressive facials - Jyothi Raghuram e-mail: jyothi.r.ram@gmail.com Photos: Universal Rasikaas December 14, 2024 Decades of an immersive life in dance showed in their sprightliness off stage, myriad expressions on stage. Kalanadam, into its 25th year of dance and music festivities, brought together eight gems of Karnataka, to showcase their abhinaya, encapsulated in a few minutes on stage. What a gift it was! I did not expect to see a classical dance show at this event; it was to be a glimpse of what they were in their prime as performing dancers. I just considered it a blessing to see these veterans among veterans coming together, even if they were just a handful. However, what I witnessed was a collective show of liveliness, mental agility, bejeweled, bright, traditional attire and a brief abhinaya outing remarkably etched, reminiscent not of bygone days, but of an art oeuvre that is very much in currency. It was joie de vivre all the way! It certainly was a case of "the spirit is willing". Let's go back in memory lane to decades ago, as each one of the eight artistes were pioneers, determined individuals, doggedly focussed, rebels, revolutionaries, and even bohemian - in a most positive way! I'm sure they weren't aware of their sterling qualities, or that they would strike a path that would light the way for dancers of future generations. After the first generation of dancers of the 1940s, it is this crop of artistes who paved the way to uplift classical dance as divine, helped many girls and boys too, to take to dance as a profession, and gave it a visible, respectable platform on which both dancers and aficionados stand today. This in fact is enough to admire their grit and acknowledge their contribution.  MR Krishnamurthy When MR Krishnamurthy set up Kalakshithi, his dance school in Bangalore in 1991, he brought a chunk of Kalakshetra Foundation, Chennai, with him. That chunk grew into a huge rock with a fine foundational base and sense of aesthetics, turning into a classy centre for Bharatanatyam and a holistic cultural centre that is second to none in the country including his alma mater. I have spent very many days over the decades simply watching his classes, written about Kalakshithi, and admired the sustained adherence to tradition in every sense of the word. If the entrance to the dance school, and then the dance hall, is a tasteful, reposeful space full of traditional motifs decorating it, it is as dynamic in the rigorous, all-encompassing training. This charming, serene precinct is where Bharatanatyam has established roots as a divine art. And it is this attitude that is reflected in its founder, who looks as fresh as a daisy, whether it is 7am, or 7pm! This is what classical dance is supposed to give us, if we have it in us to imbibe from it, as have the dancers of this hallowed institution.  Lalitha Srinivasan Lalitha Srinivasan, even when compared with much junior colleagues, stands apart as one of the most enthusiastic, selfless, dedicated teachers that I have seen. My memories go back to her earliest days as a teacher when she began dance classes at Malleshwaram Ladies Association in right earnest, without missing even a single class, even if her wards did! Nupura, her Bharatanatyam school, followed in the late Seventies. Nitya Nritya a grand annual dance festival of Nupura, brought the entire music and dance fraternity of Bangalore together; intense academic sessions were integral to it, where animated public participation truly made it a people's event. A magnificent celebration of Indian classical dance indeed! I'm talking about the early Eighties. Lalitha Srinivasan was the true originator of mega dance festivals with a national flavour. Thanks to Nupura, hundreds of us were able to see celebrated dancers perform right here in Bangalore, for decades. Nitya Nritya, with its rich mosaic of dances and academic sessions, remains a classy, glamorous, eclectic celebration the likes of which I've yet to see. Wonderful memories to savour.... The eminently watchable dance productions of Nupura are a tribute to Keshava Nritya Shala of H R Keshvamurthy, in the research that has gone into them. Lalitha Srinivasan's courage of conviction also lies in her being a proud torch bearer of the lyrical Mysore baani, with absolutely no interpolations.  Radha Sridhar I've had first-hand experience of the feisty and straightforward person that Radha Sridhar is, when she fought for an impartial assessment of candidature during the junior examination that I had attempted. As one of the examiners, she took on stalwarts of those times for their bias, to get me justice. My admiration and respect for this sprightly, chatty, and simple artiste has only grown over the years, for so many reasons. She radiates positivity! One of her conditions for marriage over many decades ago was that she be allowed to dance. What courage and love for the art to insist on it! With a joint family and her own young children to manage, she yet blossomed into an excellent teacher and fine choreographer, her Venkatesha Natya Mandir full of well-trained dancers, completely in love with their Guru. Her elaborate dance dramas running to over 20, have a mystique to them; lively, musical and story-telling content made them super hits. Despite being a trailblazer, this stalwart is no feminist or activist. She has led a culturally rich life. Janmashtami and gombe habba celebrations at her house are a decorative affair, where warmth and hospitality also rule. Radha Sridhar continues the tradition with equal enthusiasm even today. Her zest for life, and not just for dance, reveals a life led meaningfully, quintessentially and joyfully, irrespective of circumstances.  Chitra Venugopal Chitra Venugopal, the younger sister of Maya Rao, founder of Natya Institute of Kathak and Choreography, was the less visible but equal contributor for the Institute to take wings. A devoted teacher, who choreographed some of the famed ballets of the school, it is her smiling, bright face that I attach to her name. On my innumerable visits to the Institute during and after the time of Maya Rao, to read at their library, a brief chat with the ever-smiling Chitra Venugopal was always uplifting. Wherever she was stationed after marriage, both in India and abroad, she took her dance with her, teaching aspirants from Coimbatore to Cairo! This, at a time, when Kathak was not as visible on stage as Bharatanatyam. Unobtrusive has been her work for Kathak.  Revathi Narasimhan Quiet Revathi Narasimhan has withstood the onslaught of time vis a vis mushrooming of dancers and so-called gurus all over the place, her Natya Niketan school valiantly remaining sound training ground for Bharatanatyam. I have seen many of her group features, particularly those by Shivakami, her professional troupe of senior dancers, and they have held audience interest, just the way she has not lost interest in either teaching or choreography, even for dance dramas-a very difficult task today in getting dancers together. The annual functions of Natya Niketan have been an eye-opener for me - Revathi Narasimhan would put up every single ward of hers on stage. Yet, it was never a casual show. The anniversary celebrations were professional, where even young children had been trained well. Four decades of teaching and still in the reckoning is an enviable achievement.  Sunanda Devi Sunanda Devi was one of the earliest dancers to bring Kuchipudi to Bangalore in the Sixties, when classical dance meant only Bharatanatyam. What an uphill, almost impossible task it must have been to even get students for this art form that was considered essentially a domain of males. Although I did not get an opportunity to interact with her personally, I conclude from her popularity as a teacher, scholar and one of the earliest to go on stage in the city as a Kuchipudi dancer, is adequate to vouch for her steely personality. Sunanda Devi stormed the male bastion, and danced and taught Kuchipudi, a little known import from Andhra then. She is one of those singularly responsible for this form having established roots in Karnataka.  Rathna Kumar Rathna Kumar literally took Kuchipudi to the United States in the Seventies and planted it there, where it took roots and spread. Her Anjali Centre for Performing Arts there was one of the earliest schools devoted to classical dance, leave alone to Kuchipudi. Due to compulsions of the popularity of Bharatanatyam, Rathna began teaching it but soon turned to her original love, Kuchipudi, when audiences watching her Kuchipudi recitals clamoured for it. Samskriti, her art organization, is a cross-cultural link between the East and the West. All these efforts of Rathna can be counted as representative of a beautiful, cultural nucleus of India in an apparently far away land; remember, those were the days of post cards and land lines. To spread the fragrance of Indian art and culture in alien shores was more a promise to herself than a dream perhaps.  Vasundhara Doraswamy I'm not surprised that young Vasundhara Doraswamy publicises her age-she's really young in spirit and body; at 75, her ebullience, energy and youthful looks are admirable, enviable! It was in the mid-nineties that I first attended one of her well-known dance festivals in Mysuru. I was bowled over by the boundless energy she brought to stage, reflected in her mere presence off stage too. A yoga enthusiast and expert, Vasundhara Doraswamy is her own benchmark, be it in her diligence, dedication or physical upkeep, which has not waned over the decades. She successfully brought Mysuru as a happening place for classical dance and music. Being in currency for 50+ years both as a performer and sought-after teacher, not only vouches for a lifetime of commitment to the art, but re-inventing herself as a choreographer, change of mindset in teaching as per the times, and prioritising health as a mainstay even to art. Radha Sridhar and Chitra Venugopal chose to speak briefly about their times vis a vis the difficult social atmosphere for dance. There was neither regret nor despondency about the apparently insurmountable challenges they faced in pursuing dance. If anything, it came across as a joyous, beautiful world they had chosen, which was central to every aspect of their lives. The felicity of expression of MR Krishnamurthy, Lalitha Srinivasan, and Revathi Narasimhan revealed the inner dancer in them beyond of teaching. From this point of view too, I, as a dance lover, am so glad that they continue to teach. Mentionable were Rathna Kumar's steady movements and flitting expressions. One gleaned the rudiments of a traditional Kuchipudi recital from the demonstration of Sunanda Devi. Young Vasundhara was in her elements in every aspect of her dance, from her aahaarya to her nritta to her facials. Undeniably an inspiration! The presence of dancer and film actor Sridhar added to the dignity of the event. What I admire about him, aside of his dance, is his scholarship, which is revealed in the grooming of dancers of his Khechara Academy of Bharatanatyam, his talks at seminars. His dance features, solo and group presentations are weighty, well-researched, sleek productions. A grateful thank you to Nandini Mehta and Murali Kalvakalva for getting up this memorable event-a crowning glory in their art endeavours.  Jyothi Raghuram is a senior journalist and art critic based in Bangalore. |
