TH - TH Chennai Thef.01!12!2023
TH - TH Chennai Thef.01!12!2023
TH - TH Chennai Thef.01!12!2023
COM/FRIDAYREVIEW
CM CH-CHE _ J
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J2 Friday, December 1, 2023
Chennai, THE HINDU
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CHENNAI • DECEMBER 1, 2023 GET CONNECTED » WWW.THEHINDU.COM/FRIDAYREVIEW
CM CH-CHE _ J
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Friday, December 1, 2023
J4 Chennai, THE HINDU
CM CH-CHE _ J
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CHENNAI • DECEMBER 1, 2023 GET CONNECTED » WWW.THEHINDU.COM/FRIDAYREVIEW
GOING DOWN
MARGAZHI
MEMORY LANE
Alarmel Valli on
Season of change The connecting thread watching, imbibing
The annual music and dance festival needs Nalli Kuppuswami Chetti on being an and performing at the
an overhual in the digital era p4 integral part of the city’s cultural fabric p6 annual festival P8
important to O
n January 1, 2024, when
Bombay Jayashri Ramnath
receives the Sangita Kalanidhi
at the Music Academy, Chennai,
engage with her art in new ways. This
often prompted her to move away from
her comfort zone to experiment with
untested collaborations.
own space’
realised how such encounters open up
boundaries, Jayashri has been traversing possibilities of unexpected connections
the musical landscape exploring swaras and leave a lasting impression on the
and songs. minds of the artiste and the audience.
Jayashri developed the ability to She’s performed at the Zulu Carnival in
experience music as a liberating force Africa, at an ancient cathedral in Spain,
Bombay Jayashri, Sangita during her growingup years in Mumbai. on the lawns of a museum in Cordoba
Though she chose to specialise in Carnatic and the Huvilla Festival Tent in Helsinki.
Kalanidhi 2023, on how early music, Jayashri was exposed to Hindustani, Everytime she sang at venues far from
western classical, folk songs and Hindi film
exposure to different genres music. In those formative years, she
her native land, she was struck by how
music created a world of its own, beyond
helped her engage with Carnatic enjoyed being surrounded by these. When
she turned a performer, Jayashri carried
genre, language and culture.
music in new ways these influences to design a distinct CONTINUED ON
classical singing style, which is high on » PAGE 2
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Y accompanists?
On a melody track Bombay A: I have had the privilege of being
Jayashri at a concert and at supported by some of the best
the Oscars. PHOTOS: SPECIAL accompanying musicians on the
ARRANGEMENT violin, mridangam, kanjira and
ghatam. A musical conversation
among us before a concert continues
on stage too, adding a special
Nothing can be more flavour. Over a period of time, a
satisfying than being able rapport builds up and makes the
to make your passion your performance extremely enjoyable.
CONTINUED FROM life’s calling. And, while at The role of accompanying artistes is
» PAGE 1 it, also, receive the love and crucial to a concert’s success.
affection of the audience.
These choices revealed in Q: Has your exposure to both
intentional and unintentional ways Carnatic and Hindustani music
her creative range and the intensity helped you better understand
of a voice often shrouded in the classical music system?
fragility. A: Understanding both systems has
At home, apart from performing its advantages. It has helped me get a
concerts, Jayashri was always firm grip on the finer nuances of the
looking out for ways to use music Indian classical music tradition. That
for a larger cause. She would readily said, it is important to define one’s
‘It is important
associate with initiatives that own space in art.
created space and opportunity for
youngsters to experience classical Q: What advice would you give
music. Wellaware of music’s young Carnatic enthusiasts?
healing power, she set up the Hitam A: The younger musicians are
to define one’s
Trust to sing for children with talented and promising. They will go
autism. She has also been working a long way in ensuring our music
to create singalong learning thrives. Perseverance and hard work
material for the differentlyabled. To are the key to a long successful
support Aim for Seva’s efforts to journey, and I’m sure they are aware
make art accessible to all, she
regularly visits Manjakudi in
Kumbakonam to teach the children
there.
Jayashri tries hard to avoid
own space’ Carnatic music and strengthen
your bond with the art?
A: Carnatic music provides a strong
and deep foundation and empowers
one to explore various formats and
of this.
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It’s December.
Back to the sabha routine
The festival that has garnered global attention and heritage status needs to step out of the old ecosystem
time only on one ear. Changes in
Bala Shankar society have impacted the Carnatic
music fraternity as well, in
he December Music manwoman relationships. With
of Margazhi
month of Margazhi word — ‘Mugair’ to describe the
(December/January) but long before sound of bathers diving in.
it were two treasures from the Bhakti Rainfall is associated with
era, which celebrate this month as a Margazhi in Tamil areas and it is
period of devotion and austerity — remarkable that both works describe
the Tiruppavai and the
The Season possibly began in the Bhakti era and them with almost scientific
Tiruvempavai. has endured, thanks to the timeless appeal of precision. Andal in ‘Aazhi Mazhai
The creations of Vaishnavite saint Kanna’ (4) addresses the Lord as the
Andal and Saivite savant the Tiruppavai and Tiruvempavai rain giver and says He must enter the
Manikkavachakar respectively, they ocean, carry the moisture to the sky
are both recited during this month. and form clouds that are dark like
X
Some recite all the verses every day, Himself. And then with lightning like
A depiction of the
while others do one a day. The the Lord’s gleaming discus and
26th verse of
Tiruppavai, comprising 30 verses, is thunder like the sound emanating
Tiruppavai.
rather convenient for the latter from His conch, rain must fall like
practice while the Tiruvempavai, arrows from His bow — the Sarnga.
with 20 verses, is followed by a To Manikkavachakar, the rain has
recital of Manikkavachakar’s similar imagery — only the dark sky is
Tirupalliezhucchi for the remaining now Parvati, the Goddess. The Lord
10 days. This article looks at some shrinks the oceans, raises it to the
similarities and differences between sky and gives the cloud the
the Tiruppavai and the complexion of His consort. Lightning
Tiruvempavai, from the lyrical point is her narrow waist and thunder the
of view. sounds emanating from her anklets.
That both were meant for the The rainbow is her brow, and the
month of Margazhi is quite clear. rainfall is her grace, available to all
Andal refers to the month in her His devotees. It is interesting that
opening verse, in fact the first word, both poets, in the 7th to 9th
and also in verse 26 (Male Centuries, were depicting what we
Manivanna), which respectively mark now know to be the rain cycle.
the beginning and end of the Pavai Verses 16 to 26 of the Tiruppavai
nombu (ritual fast) that she and her are involved in the waking of the
friends observe during the month. Lord from His bedchamber. This is
The remaining four verses are fulfilled by the Tirupalliezhuchi of
celebrations following the Manikkavachakar, which is dedicated
culmination of the rite and extolling essentially to the shrine of
the Lord to grant boons. Yet another Tiruperunthurai and has passing
reference is to a uniquely Tamil mention of Uttarakosamangai, both
phenomenon in Margazhi — the temples being associated with the
abundance of dew early in the poet’s life. The last 10 verses of
morning, in ‘Kanaithu Ilam Katru’ subject by both poets. The puzhakkadai’ (14). Tiruppavai and the full
(12). The Tiruvempavai too refers to Tiruvempavai opens with an Both works describe the beauty of Tirupalliezhuchi are like the
Margazhi, once, in the final verse, exhortation to rise and when those the morning — the birds awakening, approach to a king’s bedchamber. If
number 20. in sleep refuse, a question is rather the stars dimming, the sun rising, to Andal the lesser Gods have all
The Tiruppavai is structured as irately asked as to whether they are conches sounding from temples. The come as vassals to the doorstep,
Andal awakening her companions, deaf. The same theme appears in Tiruppavai dwells repeatedly on Manikkavachakar depicts all the
exhorting them to give up the Andal’s ‘Thumani madathu’ (9). The cows being milked, as it is set in commotion — musicians with the
comforts of the bed and sleep, and excuses that someone gives when Aypadi — the settlement of cowherds yazh and the veena, those chanting
proceed to the house of the Lord being woken up are all dealt with by which is the abode of Krishna. The the Vedas, others singing verses in
where she progressively wakes up both poets. In ‘Ol nitthil nagayai’ (4), Tiruvempavai mentions Tillai and praise, yet others bearing garlands,
the attendants, family members, the Manikkavachakar describes a woman Tiruvannamalai — both at one time some silently waiting with hands
divine consort and finally the Lord refusing to leave her bed and who full of water bodies, in keeping with lifted above the head in obeisance
himself. The Tiruvempavai takes a bides time by asking if everyone else the theme of bathing in the tanks. and others overcome with emotion —
slightly different route. While it also has arrived. Those that have are Unlike Andal, where bathing in a lake weeping and fainting.
dwells at length on awakening those understandably irritated. The same appears briefly (13 — ‘Pullin vai No article can do justice to the
in slumber, it ends with the group of theme is in ‘Elle ilankiliye’ (15) by keendanai’), Manikkavachakar sings inherent beauties of these works.
women plunging into the Andal. And how many times have we at length on it. In his verse 13 And each time you read them, you
crystalclear waters of a lake, singing had someone declare that they will (‘Painkuvalai kaar malaral’), he discover hitherto unseen aspects. We
of the Lord’s glory as they swim. be the first to rise the next morning compares a tank to a temple. The often speak of the Margazhi Season
Both signify the discarding sleep of and then end up being the last? This darkhued blue lotus is Uma, the red as having begun in 1927. It really
ignorance and realising God. too is described in the lotus is Shiva, the white storks are began sometime in the Bhakti era
There are some remarkable Tiruvempavai’s ‘Maane ni nennalai’ the sacred ash, the snakes in the and has endured, thanks to the
similarities in treatment of the (6) and the Tiruppavai’s ‘Ungal water the Lord’s ornaments, and the immortal nature of such works.
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inaugurates the festival today, 6 the guest of honour. She will teacher and choreographer
p.m., at Sathguru Gnanananda present the Nadanamamani Rhadha. Tamil Isai Vendhar to
Hall. Senior mridangist award to dancer senior vocalist Prema
Umayalpuram K. Sivaraman is Thiruveezhimalai Kanaka Rangarajan. Isai Chudar to
the chief guest. He will Krishna Prashanth, and the vocalist Spoorthi Rao, and Natya
inaugurate the festival and Nadaswaroopam award to Chudar to Bharatanatyam
present the Isai Peroli title to violinist M. Narmadha. N. dancer Madumitha Sriram.
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Chitra Swaminathan
jarigai. Today, it’s mostly
the women performers
who continue the tradition.
the desire to promote them
has led him to back
initiatives, organisations
Sikhamani honour
hen it comes Though the brand and performances.
for senior artistes
W to the
Margazhi
festival,
there are several constants.
One of them is the name
promotes events
throughout the year, it is
during December that it
gets more deeply involved
with the Carnatic world.
Having seen the Season
transform from a handful of
concerts to a chockablock
calendar, Kuppuswami
Chetti attributes its
T he Indian Fine Arts Society celebrates its 91st South Indian Music
Conference and Festival from December 17 to 31, at Ethiraja Kalyana
Nilayam, Alwarpet.
‘Nalli’. When you enter As a youngster exponential growth to the On the inaugural day of the festival, the Sikhamani titles will be
most sabhas in Chennai, Kuppuswami Chetti was increasing number of conferred upon artistes from the field of music, dance and theatre. The
you cannot miss seeing it — drawn to music. He would youngsters entering the following is the list: Senior vocalist Madurai G.S. Mani will be honoured
at the entrance or on the listen to artistes singing at field. with the Sangeetha Kala Sikhamani award; Bharatanatyam dancer
stage backdrop. A popular the Sri Krishna Gana He also thinks a bigger Ananda Shankar Jayant will receive the Natya Kala Sikhamani title; and
brand in the world of Sabha, which was then audience from across the theatre artiste Bombay Gnanam, the Nataka Kala Sikhamani title. Other
textiles for more than five close to the Nalli store in T. globe attending has boosted awards to be presented on the inaugural day are: Dr. Umayalpuram K.
decades, it has been an Nagar. “Performances were its expansion. Being at the Sivaraman award for mridangam to Thanjavur R. Ramadas; and the GNB
Cultural
integral part of the city’s held on the vacant land helm of several sabhas, he award to senior musician Shyamala Venkateswaran.
cultural fabric too. And the where Kumaran Silks ensures young artistes get
man who has strengthened stands today. Since my enough performance
the connect between swaras father wouldn’t let me opportunities.
and silks is Nalli leave the business and sit “Earlier, it was difficult to
Kuppuswami Chetti.
Yesteryear artistes, both
male and female, preferred
to be clad in silks for
kutcheris. Rasikas would
remember M.S.
threads in a kutcheri, I would often
stand in the porch of the
store listening to the music
late in the evening. I didn’t
understand anything but
found it extremely
fill the junior slot. Today,
there's even a subjunior
category to accommodate
aspiring youngsters. We
need to motivate and
nurture them. We have to
Subbulakshmi in her
favourite ‘MS Blue sari’ or Nalli Kuppuswami Chetti on comforting. Once I settled
in the business, I took time
give them the confidence to
pursue the arts. Who knows
M.L. Vasanthakumari in her
bright Kanjeevarams.
the joy of being an integral out to go to sabhas to listen
to the great musicians of
there could be another U.
Shrinivas or a
Ariyakudi Ramanuja Iyengar
was known to wear an
part of the city’s art scene the time,” says the
industrialist, whose love
Balamuralikrishna in the
making!” says Kuppuswami
angavastram with a broad for the classical arts and Chetti.
Mudhra’s annual
festival begins today
udhra
M inaugurates
the 29th edition
of the annual
Margazhi Music X
Festival today at From left Narthaki Nataraj, Rajkumar Bharathi, Sai Shravanam, Urmila Sathyanarayanan
Vani Mahal Mini
Hall, T. Nagar, at
Tiruvarur Girish.
5.30 p.m. Dr.
Sudha
Seshayyan, former Vice Chancellor, The
Awards galore at Bharat Kalachar
Tamil Nadu Dr. MGR Medical harat Kalachar the field of music, dance and Theatre artiste S. Sureshwar
University, and Campus Director,
SASTRA University, inaugurates and art
patron Nalli Kuppuswami Chetti
B inaugurates the 35th
year Margazhi Mahotsav
on December 16, at Sri YGP
theatre.
Details:
Gnana Kala Bharathi
will receive the K. Balachander
Trophy for Artistic Excellence on
the occasion.
presides. On the occasion, the Mudhra Auditorium, T. Nagar. Veteran Rajkumar Bharathi. Young musicians, including
Award of Excellence will be presented dancerscholar Padma Viswa Kala Bharathi Narthaki Rahul Vellal, Spoorthi Rao and
to veteran musician Suguna Subrahmanyam presides and Nataraj. Rishabh Ranganathan, will
Varadachari, and Nataka Mudhra to Vanathi Srinivasan, National Acharya Kala Bharathi Urmila receive the Yuva Kala Bharathi
actordirector R. Giridharan. Cleveland President, BJP Mahila Morcha, Sathyanarayanan. awards for this year.
V.V. Sundaram and veena vidushi R.S. inaugurates the series. Art Kala Seva Bharathi S. Kumar. The evening begins with a
Jayalakshmi will felicitate. Tiruvarur patron Nalli Kuppuswami Chetti Nadaga Kala Bharathi D. nagaswaram recital by K.S.
Girish’s inaugural concert will set the releases the annual souvenir on Balasundram. Senthil Murugan and Shanthi
tone for the 23day festival. Concerts by the occasion. The evening Special Commendation Senthil Murugan at 4.30 p.m.
upandcoming artistes can be watched programme also includes awards will be given to V.V.S. The duo will be accompanied by
on www.paalam.tv at 6.15 p.m. presentation of the Kala Manian (konnakol); Sai Gummidipoondi R. Jeeva and
Bharathi titles to senior and Shravanam (sound design) and Adyar G. Silambarasan on the
upandcoming artistes from Lavanya Venugopal (theatre). thavil.
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M
ridangam
maestro guru
Karaikudi Mani’s
Winter Guru
Karaikudi
Mani
Salem S. Ranganathan and
K. Sooreyakanthan;
Misram — Tumkur S.B.
the award function at 4.25
p.m. when senior
mridangist Mannargudi
Sooreyakanthan Sri
Venkata Narasimhan
Endowment prize. The
Sruthi Laya Kendra
inaugurates the 36th year
music Ravishankar, V. Rishi, and
Tirupunitura Sasikumar;
Easwaran will be honoured
with the Guru Surajananda
award function will be
followed by Trichur
Winter Music Festival on
December 3 at Arkay
Convention Center,
festival Khandam — Madipakam P.
Suresh, K.S. Somaskandan
and Vinayak S. Karun; and
award. Other artistes to be
awarded on the occasion
are: Delhi Ganesh Gowri
Brothers’ vocal concert.
They will be accompanied
by Visvesh Chandrasekar
Mylapore. Sankeernam will have R. Manohari award; (violin); Trichur R. Mohan
Y The daylong event segments with each Ramesh and R. Tirupunitura Sasikumar (mridangam) and
Mysore M. begins with Kavi Kannan’s focussing on a tala Subramaniam performing. N.V. Subramaniam Nerkunam Sankar
Nagaraj and ‘Kavi Samarpanam” at 10 structure — Chatusram The event also includes Endowment Prize; and K. (kanjira).
Mysore a.m. followed by features Kunnakudi
Manjunath. Nandhikeswarar Balamurali Krishna and
UtsavPanchanadai by the Arvind Ranganathan;
students of Guru Karaikudi Tisram T. Shyamsundar,
KGS’s Margazhi mela Mani. It is spread over five Trissur Anoop Keelath,
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X recollections of innumerable
up with the
stretch, taking just a few moments
showcasing artistes from across the off to snatch a bite. Others too,
globe. despite their very busy schedules
For performing artistes, the have never jibbed at committing to
Season can be equally exhilarating frequent and lengthy rehearsals.
Season
and daunting, inspiring and This pivotal, symbiotic
frustrating, invigorating and relationship between dancer and
exhausting. musicians made it possible for us to
For decades, I made it a point to flow in the same stream of
limit myself to only three consciousness during the
performances during the Season, performance. But this nurtured
as, to my mind, a single synergy has become an alltoorare
From watching legendary performance in December in luxury in more recent times, where
Chennai is the equivalent of five good musicians for dance in
artistes to evolving as a dancer, the elsewhere. I have joyous December are so hugely soughtafter,
December Music and Dance Festival they find it increasingly impossible
to accommodate the leisurely,
defines my journey immersive practice sessions that
used to be the norm in the past.
For me, the Season has been a
back in time to those halcyon days. crucial springboard in my career. I
For me, it was a cherished luxury could not have succeeded
to attend three or sometimes, four without the consistent
consecutive performances every support and
day. After a tiffin carrier dinner encouragement from
eaten in our car, we would often some visionary sabha
settle down to yet another music secretaries, very early in my life.
feast — the day’s concluding How many would have had the
concert at 9.30 p.m. courage of conviction as Sri
How blessed I was to have been Yagnaraman to present an
born at a time when I could unknown 12yearold dancer
experience the transforming art of at his Krishna Gana Sabha
the greatest musicians and dancers. December Festival — and
Alarmel Valli Though I was only a callow thereafter, from my 15th
teenager when I first saw the year, invite me to
peerless T. Balasaraswati dance at perform every
hen I was a
W
the Music Academy, it was an December?
child, the sight epiphanic experience that helped No matter where I
of massing rain crystallise my later awareness of may have danced
clouds in dance as visual poetry and visual true and the superficial, the artistes who have not yet found around the world,
October, the music. As a wideeyed 10yearold, genuine and the pretentious, to their own voices. When any artiste the audiences I cherish
feel of a sudden cool breeze and mesmerised by the fire and look beyond mere packaging and to can be accessed instantly, at the the most are those who
the scent of newlywet earth would dynamism of Yamini the content within. touch of a screen and a dancer’s attend the December
spark off a frisson of excitement Krishnamurthy’s dance, the joy and In the presmartphone days, performance can be repeatedly Season’s performances.
and heady anticipation. For the grace of Kamala Lakshman, and the when live performances were played and fastforwarded at whim, Irrespective of the
monsoon heralded the Margazhi sublime beauty of the concerts of experienced in the moment and there is a danger of palates season’s
Music and Dance Season. legendary musicians, I was deeply distilled to live on only in the heart becoming jaded. Older rasikas will metamorphoses over the
Attendance at the Season’s concerts touched at a subconscious level. It and memory, December Seasons remember the days when in most years, the Chennai
was mandatory for most children in was a feeling I could not articulate, were doubly precious to me. I sabhas, the Season lasted only a Margazhi Vizha is still
my extended family. We would all let alone understand. But I believe would sit eyes glued to the stage, fortnight, or three weeks perhaps. touched and lit with magic for
set out each afternoon to a sabha, that in experiencing their art, I also afraid to miss even a single instant. Not many could have envisaged a anyone who loves music and
bedecked in our Kanjeevaram silks spontaneously absorbed aesthetic We had not yet grown blasé, with time when the scope and scale of dance. It is a beautiful bridge
and finery, with jasmine in our hair. and artistic values and principles. surfeit. Today, the sheer profligacy the Season would expand so between our city and the rest of
To this day, music and rain and the This early exposure honed my of performance choices offered on exponentially, featuring as many as the world, forging lasting links
scent of mallipoo transport me ability to differentiate between the YouTube alone can bewilder young 5,000 or 6,000 performances, between cultures and people.
A Indian children
were being steered
towards learning
classical dance or music, or at
least trained to play an
understood that better when I
became a teacher. But
Radhika never bore a grudge,
nor did her gurus, and that
was one of the first
talent.” Today, Sreelatha has
choreographed over 25
thematic shows.
For someone who idolised
her first guru, the transition to
instrument, it seemed natural outofclasslessons that I the new gurus also happened
for Sreelatha Vinod’s parents learnt in Bharatakalanjali.” organically. How and when
to nudge her towards dance The second lesson was to the shift happened, Sreelatha
when they found a dance follow. The Dhananjayans is not able to define, but says
school called Natya Vihar in came out with their she revelled in the blessings of
their neighbourhood. It was production of ‘Sangamitra’ two sets of gurus. She says
started by actor Hemamalini’s and Sreelatha was chosen for that while Dhananjayan
father. Natya Vihar had one of it. But she was disappointed looked at the larger picture,
the finest dance gurus — when told to play a small role. Shantha got down to the little
Tanjai Arunachalam Pillai — Grudgingly, she performed. details. They complemented
and it was under him that After that, Dhananjayan called each other. “It was from akka
Sreelatha began her journey. her. “You have let me down. that I learnt how to iron my
The intensive training and The role, be it small or big, is costume, air it, refold it and
Sreelatha’s passion led to her not important. How you put it away with care,
arangetram early on. perform is — it is not what you something that I practise to
Sreelatha recalls that dance do, but how you do it that this day. It was this attention
classes were something she affects the scene,” he said. to detail that inspired me,”
looked forward to, and the That was Sreelatha’s first says Sreelatha, who has
gentle but strict guru taught lesson in Patra Pravesham and completed her Masters in
all the technicalities and she admits, “my first lesson in History and Bharatnatyam,
nuances of Bharatnatyam. humility as well”. and holds a PhD in
Among the many cherished Soon enough, great Bharatanatyam [Adavus a
moments of performing, opportunities came her way Study] from Tamil University.
Sreelatha fondly remembers and she worked with A Kalaimamani awardee, she
X
receiving a medal from the commitment, a fact her gurus is a faculty member at Dr J
legendary Sivaji Ganesan Wholesome training acknowledged. Jayalalithaa Music and Fine
when she was about five years (clockwise from above) The Dhananjayans gave Arts University and
old. When she was just Natyacharyas the space to their students to established the Anthara
settling into a routine of Dhananjayans; guru grow. Like many others, she Centre for Performing Arts.
learning and practice, her Arunachalam Pillai; and found herself participating in Inspired by her guru
guru became unwell. He was Sreelatha Vinod PHOTOS: SPECIAL several productions, each of Arunachalam Pillai’s vision for
hardly able to take classes, but ARRANGEMENT which taught her valuable ABHAI, she started
he continued teaching her. lessons in choreography, Prayathnam with a group of
It was also around this time notice. Sreelatha admits that music composition, costumes likeminded young dancers.
that the farsighted while it was easy for her to and overall presentation. As its president and managing
Arunachalam Pillai decided to touch the feet of her guru She especially remembers trustee, Sreelatha encourages
start a dance school to bring before and after the class, she being a part of ‘Ghanshyam’ and supports the purpose of
all dancers under one would just touch the talam which gave her an learning — reading texts,
umbrella. He sent a letter and not bow to the standin opportunity to see the sourcing study material,
inviting dancers and gurus to Bharatanatyam began with singular attention she had travelled, they saw to it that guru. creative mind and work creating a syllabus that would
meet. This laid the foundation her second gurus, the basked in, under training did not suffer. The When the Dhananjayans dynamics of sitarist Pt. Ravi help students and train
for ABHAI (Association of Dhananjayans. Arunachalam Pillai’s tutelage. seniormost students were put returned from their Shankar. teachers as well. It was
Bharatanatyam Artistes of Sreelatha says this shift was She soon discovered that the in charge, and it was thus that performance tour, Sreelatha With experience, she was through Prayatnam that she
India). But, Arunachalam not easy for her, because not Dhananjayans, who were Radhika Shurajit began to take had a big lecture waiting for asked to choreograph small had the opportunity once
Pillai did not live to see the only did she have to unlearn performing gurus, were much classes for Sreelatha. But the her. Shanta Dhananjayan sat pieces. “The biggest award I again to interact with several
movement take off. and then relearn techniques soughtafter. They had already young girl was not happy. She her down and told her the got for my choreographic other gurus, and to serve as a
Soon, Sreelatha’s next under teachers from another established Bharatakalanjali showed her displeasure, importance of respecting the skills was when my guru bridge between her two loves
chapter of training in school, she also missed the and so, whenever they which Radhika was quick to chair, and the person who performed ‘Alarulu Guriyaga’, — history and dance.
CM CH-CHE _ M
YK
Friday, December 1, 2023
THE HINDU
9
Chennai
vidwans of the day. He is an Palkulangara K. Ambika Devi music festival in 1958 and
Agrade artiste of All India is a prolific Carnatic musician received the Keerthi Mudra
Radio/ Doordarshan. A hip and prodigious guru hailing from Award from Dr. Rajendra Prasad,
injury in the year 2000 put Kerala. She has been performing former President of India.
an end to his performing for more than 60 years, and has Ambika served as faculty
career, but he continued to taught more than three member in various capacities for
propagate the Palani bani. generations of musicians across 32 years at the Swathi Thirunal
He is a prolific guru with, the country. college, and retired as Professor
many of his outstanding Ambika was born in 1939 to C.K. of Music. She is now a visiting
Karthyayini Amma and K.N. guest faculty at University of
Recognition students winning prizes
and also regularly
performing in concerts.
Kesava Pillai in
Thiruvananthapuram. Her
mother was her first
Kerala’s music department.
Ambika is known for the
undiluted purity
for scholar Kalidas has presented
many lecdems on various
aspects of music, laya,
music teacher, and
Ambika went on to
complete her
and classicism in
her music.
Wellknown as a
mridangam, and the Palani
Musicologist award 2023 style. Diploma and Post conformist in
Arimalam S. Padmanabhan An ardent devotee of his Diploma course at handling
rimalam S. Padmanabhan, an academician, guru, Kalidas has formed a the Sri Swathi conventional ragas
CM CH-CHE _ M
YK
10 Friday, December 1, 2023
Chennai, THE HINDU
TTK awards
S. Janaki
Odhuvar B. Sargurunathan
Balasubramanian Sargurunathan is a
wellknown Odhuvar who has carved a
niche for himself in Thirumurai
rendition. Since 1998, he has been an
Odhuvar at the Kapaleeswarar temple.
Devotees look forward to his recital
every fortnight during the Pradosham.
His presentation of the 12 Thirumurai
verses has been
brought out as
cassettes and
CDs, and he also
teaches the
sacred verses,
both offline and
online.
Hailing from
Karukadipatti
village, the
Tirumurai became an integral part of
Balasubramanian Sargurunathan's life
when he quit school at 12 to join the V.S.
Trust Thevaram Pathashala in
Chidambaram.
In the late 1980s, he accompanied his
guru to perform at various temples
during auspicious occasions. He also
took special interest in ‘Arbutham’
Pathigams and
ApparThirunavukarasar’s verses.
At 16, Sargurunathan presented his
first major Tirumurai programme, which
took place at Tamil Isai Sangam. He has
been a regular there since. For the next
seven years, he was Odhuvar at a temple
in Manali. The famous Dharmapuram
Swaminathan was his role model, and in
his quest to attain excellence,
Sargurunathan became a disciple of B.
Achutha Raman.
So far, Sargurunathan has visited over
200 Paadal Petra Sthalams and
presented relevant verses. He is an
Agrade AIR artiste, and is a regular at
Chennai sabhas.
Thavil vidwan
T.R. Subramaniyam
The 73yearold Thirunageswaram
Subramaniyam (TRS) is a veteran thavil
vidwan hailing from Thanjavur, Tamil
Nadu. He has had an eventful career
spanning 60 years. His versatility lies in
his quick grasp, mathematical brain, and
nimble execution of complex rhythms
on the thavil with felicity. While
pursuing a successful career as thavil
vidwan, he has also been mentoring
young artistes.
Subramaniyam had his initial thavil
training under his father from the age of
seven. He then
went on to learn
from Vanapuram
N. Balakrishnan
Pillai (thavil
teacher at the
Palani Sri
Dandayudhapani
Temple music
school, run by
the Tamil Nadu
government). At
the age of nine,
he was on stage accompanying his guru
at the Thiruvavaduthurai Adheenam.
In his illustrious career,
Subramaniyam has played the thavil for
several eminent musicians, notably
nagaswaram vidwans such as
Chidambaram S. Radhakrishnan Pillai,
Madurai MPN Brothers — Sethuraman
and Ponnuswamy, Andankoil
Selvarathinam Pillai and
Thiruppamburam Brothers — TKS
Swaminathan and Meenakshisundaram,
besides the clarionet maestro A.K.C.
Natarajan. He has played alongside thavil
vidwans such as Valangaiman A.
Shanmugasundaram Pillai, Yazhpanam
Dakshinamurthy Pillai,
Haridwaramangalam A.K. Palanivel and
T.A. Kaliamurthy.
T.R. Subramaniyam has displayed his
artistic prowess across the country and
abroad.
TBGS’s month-long
annual fest
ri Thyaga Brahma Gana Sabha, in asso
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