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6 Tillana October 2020

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w¯Áè£À: - CPÉÆÖçgï 2020 77

Learning- My experience
Neela Ramgopal

I never thought I would be a

professional musician at all. As any South
Indian traditional family girl I was sent
to the school in Tamil medium in
Kumbakonam in Tamilnadu. Every
evening after the school was over we
siblings would go to the music school,
which was quite nearby. There was only
one teacher and 20 students would sing
together. If you are smart enough you
can pick up nuances otherwise the results
will be different.
My father was a violinist, not
professional, but used to play and
practice everyday for his love of it. He
never tried to teach music to any of his
children, because those days, it was a
taboo, when the girls of any traditional
family sang for public. But all the girls
were taught music as a custom.
Semmangudi Srinivasa Iyer was
living just opposite my house and I could
hear him singing day and night. It was
1947, he was very popular and students
like Sri T.M.Thyagarajan and Sri
P.S.Narayanaswamy used to stay there
and listening to their Guru’s music from
the window of his room.
I was so crazy about music and
would sneak to kutcheris nearby without
8 Tillana October 2020
telling anybody. To get out of the house
at the age of 3 was not considered normal
in that period. The thirst of music must
have been in me from those days I
believe.
We migrated to our ancestral village
10 miles away from Kumbakonam,
where no music was available. At last
we found one master, who used to come
home daily with patantharam. The music
was taught to the girls, mainly to sing
during, the girl-seeing for marriage
purposes only and not for anything else.
Actually it helped me in getting a good
groom, whose family was a music
oriented family. They were happy that
their daughter-in-law sings very well and
adorned me nicely for my music too. My
music was very helpful afterwards to
put my children to sleep well.
Both my husband and myself used
to attend the music festival in Chennai
and stay there for 15 days and listened
to all concerts without any break. Until
this period, my concern was only
listening to concerts .
On one occasion, my music was not
appreciated or recognized well, because
the other person sang so well. I was
deeply hurt and vowed to take up music
to become competent in the subject. In
Bangalore, I found none and worrying
myself to fulfill my goal. Subsequently,
our family friend Sri N.M.Narayanan,
who was also a singer and not a
performer promised me to teach music.
Immediately. He started the first krithi,
Karubaru, in mukhari, which was
popularised by no less than Smt.
Brindamma. The same patantharam was
taught by my Guru because he was an
ardent follower of Brindamma. In one
week I learnt 10 krithis. The way my
Guru would teach one cannot make a
mistake, because the lines would be
repeated umpteen number of times.
After a week he went back to
Chennai.
We decided to go to Chennai during
music season and take lessons all the 15
days. Everyday morning at 6 a.m. would
go to his house that was quite nearby
and have lessons till 10 p.m. In between
a short interval for breakfast served by
my Gurupathni. Thus I was progressing
well for 15 years continuously and tried
to enter in A.I R and succeeded also. But
my learning came to a full stop. My Guru
was not keeping well and no more
lessons. I had to look for another Guru

Sri Semmengudi Srinivasa Iyer after the first anniversary of the club. Standing from Left:
Neela Ramgopal, Sharada Venkata Krishnan, Saraswathi Ramachandran, Raji Venkatraman,
Seethalakshmi Venkateshan, Vishalam Krishnan, Jambu Kannan and Tilaka Sampath.

w¯Áè£À: - CPÉÆÖçgï 2020 99

who would be as good as my Guru. I
Knew, I will have to struggle to get a
great Guru like him.
In Bangalore we musician friends
joined together and started a group to
learn music and sing together so that we
can exchange ideas in performing etc
under the leadership of Smt.
Seethalakshmi Venkatesan, who was a
senior and reputed vidushi. We used to
meet in short intervals and exchanged
and learned many krithis. We were
Seethalakshmi Venkatesan, Jambu
Kannan, Tilaka Sampath, Rajalakshmi
Venkatraman, Visalam Krishnan,
Saraswathi Ramachandran and myself.
We would discuss about music and all
of us were benefitted. We were 7 ladies
and and in spite of our family
responsibilities, somehow managed to be
active, spending time meaningfully.
One fine day we realized that we were
inadequate in reaching a decent standard
in performing. We thought and decided
to invite a reputed senior vidwan from
Chennai to teach us, And we decided to
invite Sri T.K.Rangachariyar, a highly
Sri T.K.Rangachari accompanied by sri M Chandrashekharan and sri Tiruchi Shankaran
10
respected and reputed vidwan, who had
just then settled down in Chennai after
his retirement from Chidambaram. He
used to arrive in Bangalore, stay here for
a week and teach all the students for one
week and would go back to Chennai. We
made him very comfortable with all his
needs and he would come to Bangalore
and stay here happily. I had the privilege
of learning under him for two years and
it was a golden period as far as I am
concerned. But my happiness was short
lived. Sri T.K.R. was unable to travel
anymore and the tuitions were abruptly
stopped.
Now I realised that to get a good Guru
is very difficult and one should be lucky
to come under a legendary Guru. My
thirst became more and more and no
solution in the near future seemed to be
there.
Now, Ramgopalji came with a
workable solution which I felt very
suitable and acceptable one to me. He
had already collected hundreds of
cassettes of many stalwarts of yeste
years. He was mainly instrumental in y
Tillana October 2020
every bit of improvement in my music.
He advised me, to listen to my favourite
vidwan or vidhushi constantly and focus
attention and try to absorb all their good
qualities with concentration. I took it
seriously and started listening to my
favourite artist Smt, M.L.Vasantha
kumari. continuously almost 24/ 7. In
due course I found myself having a kind
of satisfactory results and I was able to
do the neraval in a highly matured and
professional way. My singing was in the
footsteps of MLV, that made all the
difference. I had also gained self
confidence, my music was recognised
well and I was successfully awarded ‘A’
grade at the AIR. Constant practice is
being done even today at this age.
In between, our Sadguru Sangitha
Samithi became popular and was invited
both within and outside Karnataka.
Seethalakshmi Venkatesan was
Semmangudi mama’s disciple and she
made Semmangudi Mama as our patron
and it was he, who arranged our concerts
in Chennai in Krishnagana Sabha, etc. We
performed in Bhopal, Delhi, Jamshedpur,
Andhra pradesh, TamilNadu, etc.
On hearing that I am her constant
admirer and sincere follower of her
music, I had a telephone call from MLV
herself asking me to accompany her on
during her concert in Bangalore. It was
a great day for me. Overwhelming with
joy. I accompanied her continuously
for three concerts. I had a very very nice
experience with her. She would ask me
to sing neraval and swara prastharam for
a few minutes, which pushed up my
confidence level. To sit near her and listen
w¯Áè£À: - CPÉÆÖçgï 2020
to her and enjoy her music so closely
itself was an experience. My confidence
level was so high, that I felt I am the
MLV of Karnataka !!!
After that, due to my domestic duties
I could not sing along with her, which
even now I feel, is a loss. From then
onwards, whatever I am now is all my
own effort and self learning. Sri H.V.
Krishnamurthy( late) taught me how to
read and write notations, when I actively
participated in their Vijaya College of
Music In Jayanagar. It made my learning
quite easy and helped in writing notations
to teach my students.
With my perseverance and quest for
knowledge, I practised and practised
with focused attention and read books
on musicology and learnt many things
about lakshya and lakshana by listening
to lectures of knowledgeable people.
I take this opportunity to advise the
aspiring students to take up the subject
whatever it may be, study deeply
understand the lakshya and lakshana with
a reputed guru, who can be your guiding
light.
I salute the Sangitha Devatha for
having blessed me with the finest of
fine arts to enjoy life.
11
11
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16 Tillana October 2020

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17
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18 Tillana October 2020

Gurukula Paddhati
H S Sudhindra
I have heard a lot about Sandipini
(Saandeepa) tutoring Lord Krishna
himself in a gurukula. The teaching in
such places along with the guruji’s family
was the height of education amongst
Hindus. All these stories were told to us
by our parents and teachers. The students
after the class used to help the family
with many chores like cleaning, bringing
firewood and would have their meal with
their guru. I used to enjoy all these stories
when I was young. Little did I know that
one day I too would undergo such an
experience.
Gurukula is a tradition, which is many
centuries old and demands complete
surrender on the part of the student to
the teacher and the art itself. The path is
to first learn, reproduce, then remake
from scratch without altering the basic
concept, then rethink and create one’s
own version of the knowledge imbibed.
This is possible only with an experienced
guru and a willing student. The guru
should be broad minded too.
Information is available all around on
the internet, in CDs, etc, but that does
not transform into knowledge. Today
parents ask, when the child is ready to
perform. Any experienced person would
only smile at it. We live in such a day
and age, that when people put in their
time and money automatically such
questions arise!
w¯Áè£À: - CPÉÆÖçgï 2020
Gurukula Paddathi is a wonderful
experience ..the way I have seen it.
There are so many things we can learn
in gurukula. It mainly depends on the
patience and the interest of the student
and about how eager he or she is to learn.
The guru always is unbiased when he
teaches all disciples impartially, but he also
observes each and every candidate
individually, without anyone else noticing.
The worthiness of every disciple based
on attitude and aptitude is very clear to
him.
I was very young when I started
learning Mridangam. Taking into
consideration my disability my revered
guru Sri M Vasudeva Rao had consented
to come home and teach. This went on
for seven years. After which, I started
going to his house and took lessons along
with his other students. That itself gave
a lot of boost, wherein we had to be
competitive in our approaches. I didnt
have an opportunity to stay with Sri M
Vasudeva Rao sir, as the idea of Gurukula
was and is almost nil in Bangalore.
Moreover, I was a localite. Furthermore
I was still studying. Learning the right
way to communicate with my
gurubandhus, practicing with them,
learning each others approaches etc were
some unique perks of learning together,
which I find amiss in the experience of
present day students. Going to concerts
and analyzing, enjoying, playing for
19
19

Guru Srimushnam Raja Rao
concerts, practicing together for concerts
were other parts of those joyful days. All
these were possible only because we
were meeting for lessons at the residence
of Sri M Vasudeva Rao sir.
While I was getting on with my
training under Sri M Vasudeva Rao sir, I
also got an opportunity to learn under
Sri. Srimushnam V Raja Rao sir, Chennai.
While I continued my tutelage under Sri
M Vasudeva Rao Sir, I also got to
experience a very different scenario,
when I began to study under Rajarao Sir.
As I had to travel to Chennai, Raja Rao
sir graciously offered me to stay with
him and learn. It was a dream come true!
Impact of a gurukula system is very
significant for students, who use it
positively. The retention and authenticity
of learning is simply amazing. I am happy
to share some of my experiences here.
The very first and foremost thing we
learn is discipline. This is because if we
commit a mistake it reflects totally on
our guruji. The things we are used to at
home should change according to the
ways of living of our Guru, be it food,
20
washing clothes etc. We consciously
implement the same in our lives thereafter
for good. Our communication skills
improve drastically. We exercise caution,
when we speak to our guru, his friends,
his relatives, other disciples and other
musicians. We become part and parcel
of his house.
No one was ever allowed to
unnecessarily touch his concert
mridangams. I never used to touch any
of the mridangams, unless he would ask
me to. Even to this day I follow the
same.He hands over the mridangam he
has checked thoroughly. It’s a beautiful
experience to handle it .He asks me to
play on it for a few minutes. In fact, it’s
his way of teaching me how to check
the instrument and explaining how to
balance the left and right sides. One can
never experience these things outside of
this tradition.
Once he was confident about these
things love and affection increased along
with increase in credibility. This affection
overwhelms me with tears of joy.
We always have coffee, tiffin, lunch
and dinner together. His timings are totally
different. It’s always music first against
lunch or dinner. Even to this day he
practices for hours on end. He creates a
new thought and improvises on many
fingering techniques every now and then
and fine tunes them every day. He checks
the instrument every day. Only after he
feels comfortable he will take his lunch
or dinner. Since I like coffee very much
he always tells maami or his sister (both
Annapoorneshwaris) to give us coffee
never missing to mention “strong
coffee.” With the same love and affection
they always serve me everything with
Tillana October 2020
motherly affection. How can one witness
these in the normal classes!
Coming to the class sessions, it’s
amazing that he starts at midnight and
goes on till 5a.m. in the morning. He
teaches from his heart. Till I understand
the concept, fingering and reproduction
he will stay very calm and poised and
never get impatient or angry. I fail
miserably and still he teaches with
affection till I get it. Every single question
is answered with patience. If he feels, I
am asking for too much he will ask me
to wait till I reach that stage to understand
it. He is so meticulous, that he will
answer me on some other day
surprisingly. It would seem to me that
he was thoughtful in not answering the
question immediately. The student has to
wait patiently to understand that he was
not ready to receive the answer on a
previous date with out understanding the
concept and situation. All these are
directly linked to our capacities. In
mridangam the mathematics part is the
easiest. Following part is the toughest.
Vidwan Vikku Vinayakaram teaching the students
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He teaches the fingering technique and
then explains the concept in context to
the situation, after which he asks me to
apply it to the composition and play. Since
he is a great singer himself, it is a boon
that I am able to understand, when he
sings and demonstrates. He sings any
number of times till I get it. It will be
sung in different kalapramanas, and
explains the same to be played in different
manners for vocal and instrumental
accompaniment. Dynamics in music is
a big chapter by itself. He explains it in
such a simple way that we are able to
understand and execute the same. On
many occasions we would have
“following” sessions with other vocalists
and violinists. These sessions were of
equal interest as all the three of us would
get more insight. All these were possible
only since I was in the Gurukula system.
There is absolutely no time limit to
teaching in the gurukula system and
because of the repetitive nature of
teaching it helps us in better retention.
21
21
 In olden times there was no question
of recording on a tape or making notes
etc. It was of great advantage that I was
allowed to record and make notes of my
lessons. This shows the deviation from
rules followed in olden days for a good
reason making it “Change for the better”.
Due to lack of documentation, we do not
know how many great treasures we have
lost from times long lost. To me it’s a
real blessing, because as age catches up
there is every possibility of losing these,
due to various reasons. Even to this day
I have preserved his teachings and
propagate and pass them on as much as
possible. Along with teaching music my
Guru would also share some inspiring
moments from the lives of various Maha
vidwans, their life history and the way
they created their great korvais and
fingerings. I have also been told about
their gurukula system. In case of my guru
its only our true interest that the teaching
goes on for hours. It’s not hours, in my
opinion it’s for the entire day as he only
preaches and practices mridangam.
The maintenance of the instrument
draws maximum attention of a true
professional. We can acquire this only in
the gurukula system. The way he sees
the mridangam is truly like a child. He
handles it with utmost care. The repairer
comes home and collects the mridangam.
He explains clearly as to what is to be
done. The repairer comes back with the
repaired mridangam. Then the var
tightening starts, to make the corrections
in hecchu taggu. He starts fine tuning it
with the application of karnai. My guru
starts checking the meetu and chapu. It
nearly takes two hours for one
22
mridangam. He will just keep it on a mat
for two days after sending away the
repairer. After two days he will start
checking the left for nearly an hour. He
himself will make the required
corrections. Then he starts checking the
right face. Till this point no tambura is
used. From now on the tuning starts with
the tambura. It goes on for an hour. The
corrections start and he will himself apply
or take out the karnai to tune the meetu
and chapu. If he is satisfied he will keep
it inside the cupboard, or he will call the
repairer and ask him to do the necessary
changes, or even ask him to replace
sometimes. It’s only because of the
opportunity that the Gurukula system
provides the student to watch and observe
every single moment of his or her Guru’s
actions that he or she is able to imbibe it
and apply it to his or her own life and
study. Considering my own journey, if
not for the Gurukula padhdhati, I would
not have even known and would not be
able to appreciate so early in my career
as to what kind of effort went into the
maintenace of a mridagam. With every
moment spent with my Guru on such
days, there have been innumerable things
that I have learnt just by watching too.
These experiences are irreplaceable in the
journey of a musician.
On the day of Vijayadashami, I would
be present very early in the morning
having taken a train from Bangalore. By
the time I would knock on the door I
would hear him doing pooja. First thing
he would do is visit his Guru late Sri.
Kumbakonam Rajappa Iyer’s house. He
would enquire with a Gurubandhu well
in advance about the schedule of class
Tillana October 2020
 Palghat Mani Iyer teachin a young girl, and MLV watching.
of that particular day and plan
accordingly. I would always be ready
with a tamboolam waiting for this great
moment. He would also ask me to join
along with one or two disciples. The
moment he would enter, his guru would
greet him with a smile and there would
be pin drop silence. The others waiting
for the class would be spellbound to see
the devotion that an artist of such great
calibre had for his Guru even after having
achieved so much success. That itself is
a great example to show how one should
never forget his guru, whatsoever his
achievements may be. How could any
one learn such discipline? His guruji was
already very aged. He would be ready
with many new korvais and would keep
all the notation ready. He would tell
everyone that Raja is a very busy artist,
and that he needed to leave early and
would hold on all other students. After
that he would be taught a new lesson.
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He would always teach the new mohara
and korvais and my guruji would play
them. Without the notice of both the
maha vidwans, I would always record
these great moments. He would give the
tamboolam to his guru and take his
blessings. After that he would request his
guruji to bless us all by teaching us too.
We also would give the tamboolam and
take his blessings. What a moment that
was! He taught us discipline, he taught
us the way gurus should be treated, and
also to constantly create new concepts
in music at any age. After coming home
he would sincerely write down all these
in his diary. Me and my friends were
quite afraid to reveal to him at that point
in time that we had recorded the session.
However after many years I took the
courage to reveal it to him and today it’s
a treasure for the next generation.
There are so many more advantages
of this Paddhati. Its a boon to listen when
23
23
others are learning and watching them
learn is passive learning to be it a senior,
junior of someone of the same level. We
get to understand many things which
otherwise is great loss. The mistakes or
brilliant things committed by these other
students is a great lesson to the student
observing. It invariably opens more
insights and thoughts too both in learning
and abilities to teach. And if at all we even
for a few minutes glow in pride and
arrogance that all the learning is our own
hardwork, when we watch our Gurus
putting great efforts in teaching someone
else we realise how we must have made
the same mistakes and are reminded
instantly that without the Gurus effort
we are nothing and whatever we achieve
is because of our Guru’s grace.
Both my gurus always asks us to
listen to all baanis of music and in
particular mridangam, which shows their
broad mindedness. Rarely we come
across such gurus. Raja Rao sir always
insists upon me to listen to all the lecture
demonstrations. This actually opens up
the mind in a big way.
Gurukula system is great and enables
to develop a strong bond between the
student and the teacher’s family. It’s as
simple yet as significant as the bond
between a parent and a child. The musical
aspects passing on to next generation
with quality, authenticity is really amazing,
apart from the learning aspect. Music
needs to be learnt without the pressure
of a career and thats the depth to which
we need to reach. But these days the
question is who is ready to teach and the
other part is who’s ready to learn with
this kind of intent and dedication? This
24
method is only for a few. It cannot be
observed either by the guru or shisya due
to socio economic changes. Distance
education in music is an alternative in
today’s world. Gurukula paddati was the
only source of learning in olden days,
but interestingly its a luxury today.
Apart from the aspects related to the
craft itself, the Gurukula paddhati helps
in creating a sense of responsibility in the
mind of the student that in order to learn
an art form one needs to transform. This
transformation is difficult sitting in the
comforts of one’s own home in the
presence of one’s family. In order to keep
moving from one stage of being an artist
to another, one needs to keep either
shedding old habits, that are detrimental
to progress or one needs to keep
acquiring new habits that are instrumental
in progress. Living in the presence of a
Guru helps a student develop an intuitive
power to look in the right direction. We
only seek for we are chosen to be Sought!
The strength of any relationship lies
in the strength of its roots! What amazes
me truly, is the way my Gurus have
accepted and nurtured every transition
in me with great affection and pride just
as any father would for his son. They
make sure to reciprocate every respectful
action of mine with the same dedication
and intent as I have in offering it to them.
The affectionate smile on his face when
he sees my students perform (sometimes
kids as young as 6 and 7) fills my heart
with peace and satisfaction of keeping
this tradition alive.
There are very few milestones of my
personal and professional life that Raja
Rao sir and Mami have ever given a miss.
Tillana October 2020
Inspite of his extremely busy schedules
he has always blessed me and my
students with his gracious presence for
every single concert and festival of
Suswaralaya College Of Music which
was established with his divine blessings.
In all modesty while I secretly take a
lot of pride in the devotion and reverence
I have for my Gurus Sri Rajaro Sir and
Sri Vasudevarao sir, I do realise that it is
only a reflection of the reverence I have
seen in my gurus towards their Gurus
and elders! I am constantly reminded that
mirroring their actions in this way is only
a result of having had the privilege of
spending days and nights watching them
and learning even while not actually being
taught.
However my intention is to not
question or challenge anyone who learns
outside of this Paddhati! I have just
shared my experiences and I feel blessed
to have been given an opportunity to
experience it. Given the day and age we
live in, alternative means for higher
education in art and music are a must
and are most certainly justified for the
times we live in.

Guru Srimushnam Rajarao Tuning mridangam

Condolences
We mourrn the sad demise of
Lakshminarayana H A, husband of Smt
Bhagyalakshmi, faculty at Ganabharathi
Music School. He was the secretary of
Jayanagar Sports Club and was very
passionate about Cricket and was a left
arm spin bowler.

w¯Áè£À: - CPÉÆÖçgï 2020 25

25
Gurukula-My experience
Pattabhirama Pandit

Our country has always boasted of a and discipline and develop their
rich tradition in the traditional art forms, intelligence and critical thinking. The
since ancient times. One of the famous students are encouraged to perform
educational systems practiced in India in activities to channelize their energies, such
the ancient times was the Gurukula- as meditation, japam, that generates
Paddhati. One might wonder what exactly positivity and peace of mind to make them
a Gurukula-Paddhati is. In simple terms, fit. It is also mandatory to do daily chores
it is about the holistic knowledge, and on own with a motive to impart practical
the relationship between a guru and skills in them. All these help in the
shishya. The intention of the article is to personality development and increase
highlight the positive aspects of Gurukula their confidence, sense of discipline,
and to see how to incorporate the intellect and mindfulness, which is
gurukula-paddhati for the future necessary to face the world that lay
generation. This article does not intend ahead.
to discuss the flaws of the present
education system. Difference between a Guru and
What is a Gurukula Paddhathi? Shikshaka:
A residential schooling system, where
students were taught subject of expertise
Vidwan K V Narayanaswamy
and about how to live a cultured and
disciplined life. Gurukula is actually the
home of te Acharya and the center of
learning, where pupils reside for a definite
period of time. All are considered equal
at the Gurukula and guru (teacher) as
well as shishya (student) reside in the
same house or live near each other. This
relationship between guru and shishya
was so sacred that it was never valued
in terms of any materialistic terms.
The main focus is on imparting learning
to the students in a surrounding, where
the students live with each other with
brotherhood, humanity, love, trust
26 Tillana October 2020
 Shikshaka is the one, who imparts
training on a defined subject for a definite
period of time. Whereas, the training
under a guru is not bound by a subject
and a time, most often cuts across the
subject. A Guru will make the student to
find the solution by himself. Gurukula
system enables establishing a continuous
communication channel between Guru
and shishya, which plays major role in
the unforgettable learning experience. In
gurukula system continuous transform
-ation of shishya towards excellence is
enabled and the transformation is very
much certain. Shravana gnyana (listening
skills) is very important and is the key
for learning. This increases the
attentiveness of the student, and increases
mental sharpness. The learning ability of
a student may vary, but he/she is asked
to sit and listen, other students of varied
maturity are taught.
The skill of an individual student is
closely monitored, and in some cases,
learning is customized to enhance the
potential of the student. A student, who
surrenders to the guru with all humility,
is the one, who receiis open to the
knowledge. A student must understand
that a guru is not just a person, but a
persona with lot of transferable energies.
The golden period of a student’s life is
the Gurukula period and indeed my
experience with my guru for the 14
continuous years was a golden period to
me.
My experiences with my Guru:
I was 11, when I came under the
tutelage of KVN Mama. Mama used to
observe each student closely, to
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understand the potential and also the
nature of the student. During the initial
4-5 years, we used to stay with KVN
Mama from morning till night and then
return to our respective accommodation
at Chennai. To get good accommodation
for the out of station students, KVN
Mama had requested SVK Mama, a great
connoisseur of music.
A few years later, I started staying at
KVN Mama’s house.
Since I was also having my
conventional schooling, I had the privilege
of taking one week off every month
during my high school days and
subsequently four days every fortnight
during my pre-university days, and two
days a week during my engineering
course. I am highly indebted to my
teachers, at school and college, who
permitted for this.
In short, during normal college or
school routine, I used to stay with my
guru for eight days in a month and spent
the whole of my vacation at KVN
Mama’s house. Even the festivals were
celebrated at KVN Mama’s house. This
meant that 160 days out of 365 days, I
used to stay with my guru in his close
proximity.
A typical day at KVN Mama’s house.
Mama used to get up at 4:45 a.m. in
the morning and used to prepare Filter
coffee decoction.
All the students used to get up by 5:00
a.m. and finish the morning duties and
Prathah Sandhyavandanam, and sit for
basic practice for voice culture. Coffee
was served to us during the practice
session, and it went up to 7 a.m.
27
27
 Vidwan K.V. Narayanaswamy during a concert
Then Padma Mami used to give us a
big glass of Horlicks and from 7:15 to
8:30 a.m. we used to practise varnams.
An atta tala varnam and adi tala varnam
would be practised.
During these sessions Mama used to
be reading newspaper, yet his ears were
on our practice but never used to
intervene during our practice, unless it
is very much necessary.
A break at 9:00 a.m. Padma Mami
prepared very delicious food for lunch,
and lunch was served at 10:15 a.m. One
is really blessed to eat those delicacies
prepared by Mami (even today padma
mami’s cooking is very neat and
delicious). After lunch, if there was any
household chore, we used to do it. We
went to bank, post-office, or bring
groceries, or do railway reservations.
Again, the practice sessions would
bein at 11:30 a.m. and go up to half past
one. We sang kritis (Madhyama/
Vilamba). Even during this session, my
guru seldom intervened. He did not
express anything, yet consciously
observed our practice. Sometimes we
28
used to practice alone or in group
depending on the composition that we
were practising.
At 2:00 p.m. KVN Mama, would sit
with us, and start teaching, and this
would continue for hours together. – it
was never time bound. Many a time the
session used to go on for more than 4
hours, and at 7:30 in the night, he used
to say “Inniki Porum”.
Many a time, I was dumbfounded by
his commitment, involvement and the
energy levels, while imparting knowledge
to us. Such a selfless effort.
The motherly affection and love that
Padma Mami showered on us is
something beyond imagination. There
never any discrimination between Anu
Akka (KVN Mama’s daughter) and other
students. Mami has always been a mother
to us all.
Other experiences:
Whenever there was a doubt in a
particular sanchara or approaching a
raga, we used to ask KVN Mama, and
he used to listen patiently all our
questions and ask us back, “unakku enna
Tillana October 2020
 Pattabhirama Pandit with KVN
tondrudi?” (What is your thought?).
Before he answered, he used to
encourage us to think through and
express our views. This allowed a student
to be more creative and thoughtful.
I had a unique experience in one of
the classes, when we were singing “Sri
Kumaranagaralaye” in Atana ragam
composed by Maharaja Sri Swati Tirunal.
When we reached Charanam,
“Mandagamanajita vArane”, we sang the
first sangati as taught by KVN mama,
and when repeating the same, I
accidentally sang an improvisation.
Suddenly he stopped me, and asked me
to repeat it. I then tried singing the same
sangathi that he had taught, instead of
the new improvisation. He insisted me to
sing the one that I had initially sung. He
thought through, for a minute or so and
mentioned that “paadalaam” (You can
sing that) and in fact, the very next day,
he sang that improvisation in the concert
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itself. Look at the way, in which he
supported and encouraged the creativity.
It was a stunning moment for me.
How a guru teaches his shishya about
discipline and the basic etiquette?
Another experience was, when I was
in my 9th standard. Someone had come
to KVN Mama’s house and he was
speaking to them. Accidentally I was
standing in the same hall. Suddenly he
mentioned to that gentleman “Now a
days, youngsters have lot of curiosity to
listen to the conversation between two
people, which is totally uncalled for.” This
was a lesson to me, that I should not
listen to two people in conversation,
which is not related to me. Though this
was an indirect reference, it was a
discipline that my guru taught me, so that
I can channelise my energies to achieving
musical excellence.
29
29
How does a guru expresse his concern
towards a Shishya?
Three instances that comes to my
mind.
When I was in 8th standard, I went
to Trivandrum along with him for a
concert. While coming back, my
unconfirmed ticket did not get
confirmation at the time of boarding the
train. Since it was an AC compartment,
the TTE did not allow me in the bogey
and I was forced to get into an unreserved
compartment. Almost in every station my
guru got down to check whether I was
safe, and in stations ,where the TTE was
available, he was literally pleading to get
a seating for me in AC compartment. This
was the compassion, he used to show
to the Shishya.
We were not from a well-to-do
family, and my father was finding it
difficult to meet both ends. I was in pre-
university. It was financially very difficult
to go to Chennai twice a month. At that
time, KVN Mama had come to our house
in Bangalore and my mother raised this
topic with him. He thought of Sri B N V
sir who was an industrialist and known
to have supported many students
learning music. He took me to BNV sir’s
house at Bangalore, and requested him
to financially support me to come to
Chennai every month for learning under
him. From then on, until I got a job, BNV
sir helped me every month to go to
Chennai. This shows how much a guru
is concerned about the shishya and his
growth and doesn’t mind requesting the
industrialist despite his (KVN Mama’s)
tall stature.
30
When I had finished my engineering,
KVN mama wanted me to work in an
organization and earn a good salary and
be independent. One evening, he took me
to the house of the CEO of one of the
prestigious organizations. Incidentally,
the CEO was not at home and we were
told that he would be back in about 2
hours. We were sitting outside in the
courtyard and suddenly it started raining
very heavily. Mama, was unperturbed.
He took an Anada-vikatan magazine and
few newspapers lying around, and started
reading them until the CEO returned.
When the CEO returned home, he fell at
Mama’s feet for making him stay outside
the house for 2 hours and that too while
it was raining. Mama, took only 5 mins
and explained about my engineering
marks and about me and requested the
CEO to give me an opportunity to work
in that organization. These instances are
evergreen in my memory. He was a role
model for a guru, who does not think
about his tall stature, and he stands by
his shishya like a father. This is yet another
lesson to me, as how we should take care
of our students and their growth.
How to bridge the gap for our students,
and impart the benefits of Gurukula
in today’s scenario?
Thinking of each student’s positives
and scope for improvement, teaching
should be customized the in a very subtle
but affectionate way.
students should be carefully observed
and provided course corrections but te
gur as tobe more compassionate. Make
Tillana October 2020
sure that their on stage and off stage
behaviors are carefully monitored.
Teaching patience and perseverance
in a very subtle way is extremely
important to a student. It helps in building
the career.
Apart from the teaching sessions, we
should be more friendly and affectionate
with the student, so that he/she will open
up and does not have any secrecy. This
is to build mutual trust.
Students should be made to sit in a
group, while we are teaching other
students, so that the students get different
perspective of the same kriti being taught.
Normally in our school there would be
subtle differences in teaching the same
kriti to different students at different point
in time. This helps the students to get a
broader perspective of the kriti.
Students should be encouraged to
sing the raga alapana, or swara prasthara,
or niraval independently based on what
they have heard in concerts. Giving subtle
corrections and not spoon feeding the
same.
Make sure that the Shishya attends
the concerts and gets to know the on
stage dynamics, and the approach for
each kriti. Checking in a subtle manner
either the same day or the next day, about
what caught the attention of the student
in the concert is also important.
Ensuring that the students give more
importance for their conventional
education, which help them settle down
in life. Then they can peacefully dedicate
their significant time to music.
·We now conduct 48 day mandala
or 40 day mandala for identified kritis,
w¯Áè£À: - CPÉÆÖçgï 2020
and make sure that the student takes one
kriti like a penance and practices that
particular kriti, every day, along with
others.
To sum up:
Gurukula Paddhati helps to assist the
students in understanding the concept of
a balanced life. This very ideology of
balance should be taught to the kids from
a young age so that they make informed
decisions about work, food, exercise and
the way they wish to live there life.
The deep relationship between the
Guru and shishya, is the key in building
the resilience and the knowledge and
holistic learning. Overall, it is a golden
age for any student and absolutely
adventurous.
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