Chennai • CITY EDITION • APRIL 9, 2021

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READ INSIDE Women composers of Carnatic music P2 A fresh approach to Padavarnam P3 Vibha Rani gets Nemichandra Jain Playwriting Award P4

Three generations (Clockwise such as patra pravesha or the hunter

from below) Shambu Hegde, dance  before  graduating  to  bigger
Shivananda Hegde and Shivarama roles  where  they  are  trained  to  use
Hegde; Shivananda Hegde mudras, eye movements and expres­
performing; and seen with sions, and stances for various charac­
members of his troupe. ters. Interestingly, to understand la­
* PHOTOS: SPECIAL ARRANGEMENT sya, Yakshagana artistes have to don
the stree vesha. 

New ideas
Shivananda says Yakshagana is holis­
tic learning. One has to be self­reliant
— donning  make­up  and  costume
oneself.  “Dialogue  delivery  is  the
trickiest  part,”  says  Shivananda.
“Lines cannot just be memorised and
delivered.  The  artistes  have  to  read
the  scriptures  and  epics  to  under­
stand the characters. It is here that an
artiste’s  individuality  is  put  to  test,
where  with  each  performance  he
seeks newer meanings and interpre­
tations.  They  must  move  with  the
times, understanding the need to res­
pect change in the light of tradition.”
Though performances were origi­
nally  staged  as  all­night  shows,  this
changed with time, especially when
they began performing abroad. The
dialogues have been shortened too.
The dialect varies depending on the

The teller of
golden foil. The smaller roles get sim­ place  of  performance.  “But  all  this
pler costumes and make­up.  has  happened without  compromis­

tales
Shivananda  comes  from  a  family
of  traditional  Yakshagana  artistes.
When he was 12, he was initiated into
the art by his uncle, Gajanana Hegde.
He balanced school and Yakshagana
training, and the first role he played
Acclaimed performer was  of  Abhimanyu.  He  began  with
Shivananda Hegde small roles and moved on to meatier
ones as he got better in dialogue de­
tells the story of how livery, absorbing the nuances and in­
Yakshagana is adapting terpreting characters.  more popular and familiar ones. One
Though he belonged to the North
to modern times Kanara style, he also learnt the other
variations which helped him to get a
deeper  understanding  of  the  art
form. After graduation, he trained in
Hema Iyer Ramani which the crown cannot be worn by stories  drawn  from  the  Ramayana,
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the successor. It is like a coronation the  Mahabharata  and  the  puranas.
ing on the four core elements — angi­
ka,  vaachika,  aharya  and  satvika.
When we perform outside Karnata­
ka,  we  connect  with  the  audience
more through emotion and aharya,”
says Shivananda. 
The performer has introduced vi­
gorous movements and synchrony in
group dances. He avoids deeply phi­
losophical  stories,  preferring  the
of the main changes he has brought
about is to give small roles to the ar­
tistes who hold  the screen to intro­
duce the main characters. He has al­
so revived some forgotten traditional
costumes. 
choreography under Guru Maya Rao. To take the art beyond the barriers
Equipped  with  these  skills  and of  caste  and  religion,  Shivananda

T
hey say the preparation for
the journey into the spot­
light happens in the green
room.  It  couldn’t  have
BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB been  truer  in  the  case  of
Shivananda Shivananda  Hegde.  On  February  3,
belonged to 2009, when he walked into the green
room,  he  was  unaware  of  the  huge
the North responsibility that he would be bes­
Kanara style, towed with.  the  yaksha  (demi­gods/spirits)  and
but he also His father, the renownded Yaksha­
gana artiste Shambu Hegde, had suf­
learnt fered  a  heart  attack  during  a  show
the other and summoned his son to the green
variations, room to crown him successor. On the
which helped stage, just minutes before, Shivanan­
da  had  played  Shatrugna  while  his
him get father  played  Rama  in  Lava-Kusha
a deeper Kalaga that was being performed at
understanding Idagunji Mahaganapathy temple.  The bhagavatha, part of the him­
According  to  Yakshagana  tradi­
of the art tion, the lead actor’s crown must be
form personally  handed  over,  failing
ceremony. The Idagunji Yakshagana
troupe has been performing consis­
tently at the temple for several years,
and Hegde thinks it was truly a mira­
cle that his father’s last performance
also happened at the temple.  room.  The  singers  occupy  a  raised
Traditional theatre
Yakshagana literally means, “song of
the  mela  or  troupe  consists  of  two
main  parts:  the  mummela  (fore­
ground actors) and the himmela (sin­
gers and instrumentalists in the back­
ground). It is a theatrical art form of
Karnataka, originally an all­night per­
formance  where  the  mela  travelled
from  one  village  to  another  with
shows being held in the open air.
mela, is the lead singer and narrates
the  story  through  songs,  while  the
dancers/actors (mummela) enact the
On the day of the performance, the trained  in  varied  aspects  of  the  art
artistes  construct  a  makeshift  stage form, Shivananda Hegde went on to
with a chauki (green room), and the run  the  gurukula  that  was  esta­
raja kirita (lead character’s crown) is blished by his father. It was his grand­
placed at the entrance to  the green father,  Shivarama  Hegde,  who  had
established  the  repertory  that  his
platform  at  the  back of  the  stage father adopted when he established
while the audience sits all around the the  gurukula.  Shivananda  now  car­
stage, looking up at the actors.  ries the tradition forward.  initially not in favour of his son pur­
Every important character is in­ Yakshagana requires the artiste to
troduced  by  lifting  the  theray first train his voice to align to the sru­
(screen),  which  prepares  the ti of the bhagavatha, and training be­
audience  for  the  actual  mo­ gins with the learning of the seven ta­
ment when these larger­than­ las and seven adavus, understanding
life  characters  will  emerge rhythm with exercises in percussion,
on  stage  in  all  their  gran­ and  a  study  of  the  scriptures.  The
deur.  The  ornate  costume students then specialise in an area of
conists  of  kirita  (headgear), their  interest  —  either  singing,  per­
kavacha (armour), bujakeer­ cussion  or  dialogue  delivery.  Thus,
ti  (armlets  and  shoulder whether mummela or himmela, the
bands),  and  dabu  (belts)  — artistes get an immersive training.
all  made  of  lightweight After this, players ascend the stage
wood  and  covered  with with purva ranga, doing small roles
came up with dialogues with univer­
sal appeal. “We remove objectiona­
ble dialogues that may be considered
social evils today,” he says. 
Speaking  of  the  long  journey  of
Yakshagana  and  the  hard  times  his
father and grandfather faced, Shiva­
nanda says that Shambu Hegde was
suing the art form. But seeing Shiva­
nanda’s passion, he prepared him to
carry the mantle. 
The artiste was in Chennai recent­
ly to receive a lifetime achievement
honour  from  Dakshinachitra.  At  a
time when artistes are struggling and
it  has  been  a  challenge  to  keep  the
gurukula  running,  Shivananda  says
the  award  has  enthused  him  to  tell
his stories with renewed vigour.
The author is a Chennai-based
freelance writer.

G. Swaminathan rhythm and musical beauty, using BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB thillanas are complex and

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both swaras and sahitya. Lalgudi, who Though gamakam is an challenging.

V
iolin maestro Lalgudi G composed varnams in Tamil, Telugu important feature of Carnatic According to Sankari, Lalgudi
Jayaraman’s exceptional and Sanskrit, was able to beautifully Jayaraman even did grahabedam in
contribution to Carnatic music weave subtle layas with intelligent music, the genius composer his thillanas. His rendition of
through his performances and calculations in logical progression to used even plain swaras Arunachala Kavi’s ‘Kanden kanden’,
compositions is legendary. One of his suddha swaras and anuswaras in all without compromising on Sadasiva Brahmendral’s
prime disciples, Sankari Krishnan, his varnams.  ‘Tungatarange’ and ‘Sarvam brahma
recently presented an informative and For her demonstration, Sankari
the raga bhava mayam’ made them popular, and he
engaging lecture demonstration on chose the varnam on Vinayaka in raga lent expert touches to Tyagaraja’s
the various fascinating facets of Mohanakalyani. The lyrics are Lalgudi Pancharatnam, ‘Nadaloludai’,
Lalgudi’s music.  another of Lalgudi’s specialities: praise of Madurai Meenakshi. ‘Na jeevathara’, ‘Aadamodi’, ‘Eti
Sankari began by pointing out that simple, aesthetic but poignant. Lalgudi Jayaraman’s very popular janma’ and ‘Aparata mula’. His
the master violinist has more than 50 Sankari explained in detail about how thillanas introduced Hindustani raags inclusion of catchy chittaswarams to
thillanas, 40 varnams and 10 kritis to each of the swaras following the like Priyadarshini, Pahadi, Tilang, ‘Paluku kanda’ by Tyagaraja and
his credit. Highlighting his amazing charanam were composed to Rageshree, Sindhu Bhairavi, Desh and ‘Durgadevi’ by Muthiah Bhagavatar in
composing skills and confidence to highlight the beauty of the raga Misra Sivaranjani decades ago. He also Navarasakannada are proof of his
experiment, Sankari said that his chosen. Though gamakam is an composed thillanas in Vasantha, creative mind. He also added two
music for the dance ballet ‘Jaya Jaya important feature of Carnatic music, Chenjurutti, Revathi, Kanada, etc.  different types of chittaswarams
Devi’ included almost the entire the genius composer used even plain following anupallavi and charanam in
Bharatanatyam margam. Lalgudi had swaras without compromising on the Rare genius his father Gopala Iyer’s composition,
also set the verses of the Valmiki raga bhava. Sankari presented several The master composer’s deployment ‘Thamadham thagadayya’, in
Ramayana to tune in Sapta ragas and examples with varnams in of swarksharas and sangatis in his Mohanakalyani.
Soolati Sapta talas. Besides creating a Devagandhari, Valaji, Kannada, Sama, thillanas, a rare feature, was One discovered that the maestro
few instrumental ensembles (vadhya Bowli, Nalinakanti and Andolika. She discussed. Sankari referred to ‘ma’ had tuned many Bharatiyar songs in
vrinda), he turned music director for also focused on how Lalgudi used being used in 10 places as ragas like Janasammodini, Durga,
the film Sringaram, which won him nyasa swaras, subtle sangatis, and swarakshara in the Khamas thillana Soorya, and Suddha Saveri.
the National Award. Tamil language. and how there are seven sangatis in Concluding her lec­dem with a
To highlight the beauty of his kritis, the Maund thillana.  Thiruppugazh in Dwijavanti, Sankari
Ragas for dance Sankari sang a lovely piece in raga In Rageshree, he came up with a played two songs from the film,
Since Lalgudi Jayaraman is Hamsaroopini (Arohanam; Mohanam swara play with ‘r s n s g m’ appearing Sringaram; a specially designed
particularly known for his varnams and Avarohanam; Madhyamavati) in thrice. The last line in almost all the mallari for nagaswaram; and the

Many strings
and thillanas, Sankari delved deep Bharatiyar song, ‘Engirunthu
into both. Lalgudi had composed both varuguvatho’, tuned with
‘Tana’ as well as ‘Pada’ varnams; the grahabedam and rendered by S.P.
latter has sahitya for the mukthayi Ramh, Lalgudi Vijayalakshmi and
and charanam swaras. Most of them Lalithaa.
were created on the requests of Sankari’s focus on the distinctive
popular dancers like Padma
Subrahmanyam and Chitra
Visweswaran. He used an extensive
range of ragas such as Charukesi,
Nilambari, Shanmukhapriya, Valaji,
to his bow
Sankari Krishnan’s lec-dem was able to bring out
Timeless (Top) Lalgudi
Jayaraman. (Left) Sankari
Krishnan * PHOTOS: THE HINDU
ARCHIVES AND C.V. SUBRAHMANYAM
aspects of Lalgudi’s compositions
made the exercise interesting and
informative. It was supported by
Sankari’s student Anusuya on the
vocals, Vijay Ganesan on the violin,
Asaveri, Andolika, Bahudari, and Raghavendra on the mridangam.
Devagandhari and Ranjani in his
thillanas and varnams. 
Lalgudi Jayaraman’s genius as composer The Chennai-based author writes on
Varnams, of course, carry a lot of music and culture.

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2 FRIDAYREVIEW
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Lakshmi Anand
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F
rom  the  first  century
CE,  the  Sangam  pe­
riod,  to  the  present
day, numerous women
composers  have
emerged  from  south  India.
While  some  were  revered  as
saints,  most  were  women  who
straddled domestic responsibili­
ties with their passion for writ­
ing. Some remained closet­com­
posers out of necessity.
Under  the  auspices  of  Kala
Prashala  (a  division  of  SciArt
Services),  hosted  on  Facebook
by  Vanitha  Suresh  and  Revathi
Subramanian,  Dr.  S.  Sowmya
and  musicologist  Dr.  Radha
Bhaskar shared their ongoing ex­
ploration of women composers,
aided by vocalists K. Gayatri and
Vidya  Kalyanaraman.  The  wo­
men  sang  brief  excerpts  and
shared illustrative recordings of
other vocalists too.
Expertise in music
One of only three women Nayan­
mars,  Karaikal  Ammaiyar,  6th
century,  demonstrated  her
knowledge  of  the  intricacies  of
music, referring to the saptaswa­
ras,  various  percussion  instru­
ments, and even the veena at a
time when it was the yazh that
was in vogue.
Andal  (7th/8th  century),  the
only woman Azhwar, composed
the Thiruppavai when barely 15.
She saw no obscenity or vulgari­
ty  in  expressing  her  innermost
desires  in  the  most  descriptive
manner  and  did  not  worry
about society’s expectations. In
Nachiyar  Thirumozhi,  she  tells
Manmatha (the god of love) that
she is nurturing herself only to
be given to god and, therefore,
cannot be given to just any hu­
man being. She would not live
if that were to happen.
When in the 12th century
in Karnataka, Akka Mahade­
vi’s  husband  told  her  that
everything she owned, includ­
ing  the  garments  she  wore,
were  his,  she  shed everything,
even her clothes, and wandered
about  in  the  nude  which,
Sowmya  said,  is  reminis­
cent  of  Sadhasiva  Brah­
mendral.  Akka  Mahadevi
told  her  horrified  mother
that  she  cared  for  no
earthly  attachments  and
wished  only  to  merge
with  her  chosen  god,
Chenna Malikarjuna.  many women poets who
Poignant Fr. Paul
Poovathingal; and
(below) Mohiniyattam
dancers presenting
Ummayude Dukham
* PHOTOS: SPECIAL ARRANGEMENT
Mary’s lament in
Mohiniyattam
A ragamalika with inventive
choreography made the performance of
Ummayude Dukham interesting
G.S. Paul
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F
or the Catholic Christians
in Kerala, Arnos Pathiri’s
Puthen Pana is a familiar
composition, which they sing
as part of prayers during Holy
Week.  But  this  year,  they  en­
joyed  something  more  of  the
priest’s work. Chetana Ganas­
ramam,  helmed  by  Fr.  Paul
Poovathingal,  produced  a
music­dance  video  of  the
poem, Ummayude Dukham
(Mother’s grief ), and it was te­
lecast  by  a  few  channels  on
Maundy  Thursday  and  Good
Friday.
The  German  Jesuit  priest
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What
women
wrote
A series that explored the rich feminine
legacy in musical composition
Helavanakette  Giriamma
(18th century) was the only wo­
man  Dasa  of  all  the  Haridasas.
She set her verses to tune, most­
ly in keertanai format in simple
Kannada.
Radha  spoke  of  how  women
composers visualised the divine
in  different  ways  —  as  partner,
companion and friend. Some of
them  also  composed  from  the
male perspective and conveyed
emotions like sarcasm.  er  of  Sridhara  Ayyaval,  com­
Talapaka Tirumallamma (15th
and missionary, Johann Ernat
Hanxleden,  known  as  Arnos
Pathiri in Kerala, arrived here
in 1700 at the age of 19. He was
known for his contributions as
a Malayalam  and  Sanskrit
poet, grammarian and lexicog­
rapher. Inspired by the famous
work, Jnanapanam, by the de­
votional poet Poonthanam, he
composed Puthen Pana, which
narrated  in  full  the  life  of
Christ. Ummayude dukham, in
turn, was a touching portrayal
of Mary’s grief over the suffer­
ings and death of her son.
Composed in 22 couplets, it
opens with a request to listen
to the pain and agony of Christ
century),  wife  of  Annama­
charya, was the first Telugu poe­
tess — she wrote Subhadra Kalya-
nam about Arjuna’s marriage to
Subhadra. Molla, also 15th cen­
tury,  was  a  young  village  girl,
who was the first to write the Ra­
mayana in Telugu, weaving into
it,  like  Tyagaraja,  imaginative
anecdotes. 
Avudai  Akkal,  a  child  widow
of the 17th century and a follow­
posed  many  verses,  specifying
ragas for the same. Andavan Pi­
chai, mothered ten children and
lived  until  1990  to  age  91.  She
wrote several compositions, ma­
ny on the god Muruga.
Muddu  Pazhani  (18th  centu­
ry) of Andhra Pradesh, a Deva­
dasi,  wrote  an  erotic  narrative
poem about the marital relation­
ship  of  Radha,  Krishna  and  his
new  wife  Ila.  Facing  severe  op­
position, it was soon banned by
the male bastion, with the origi­
nal  version  seeing  the  light  of
day only after Independence.
Bangalore  Nagarathnamma
(1878­1952) composed the popu­
lar  Kannada  javali  ‘Maataada
Bhaaradhaeno’ in raga Khamas.
She was a pioneer in many
spheres,  including  bring­
ing the work of other wo­
men  to  light.  Nagarath­
namma  was  also  able  to
persuade men to not just
join,  but  actively  cham­
pion  her  causes  includ­
ing  fighting  for  women  to
perform  at  the  Tyagaraja
Aradhana.
Both Radha and Sow­
mya also referred to the
with  an  open  mind.  The  la­
mentations of Mary while look­
ing at her son’s body after the
crucifixion form the rest of the
poem. In the last two couplets,
the poet concludes with a sup­
plication to Mary “to wash the
stains  of  my  mind  with  the
blood of your son and fill me
with goodness”.
Poem in concert style
In  the  audio­visual  produc­
tion, the poem is rendered by
Fr. Paul in concert style and its
interpretation  through  dance
appears  alternately  on  the
screen.
had  to  compose  in  secret  be­ for  herself,  to  compose  unhin­
cause of restrictive social mores. dered. Soundaryavalli wrote ma­
Radha spoke of the crucial role ny  compositions,  including
played  by  family  members  and some 30 on Tyagaraja, for which
other musicians in bringing ma­ notations  are  available.  Her
ny such works to light. daughter and son­in­law actively
Abused and traumatised after publicised her work.
losing her first six children, K.M.
Soundaryavalli propitiated Gha­ Adding music to kritis
tikachalam and went on to con­ Ambujam Krishna wrote sever­
ceive  seven  children.  She  said al  compositions  but  did  not
she looked forward to her men­ tune  them,  preferring  to  en­
strual cycles, when she got time trust the task to stalwart musi­
cians  who  went  on  to  present
BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB them at concerts. Several other
Andal saw no obscenity women  composers,  however,
set their pieces to music them­
or vulgarity in expressing selves. Other names that came
her innermost desires in up  during  the  session  were  D.
the most descriptive Pattammal,  Mangalam  Gana­
pathy,  Kalyani  Varadarajan,
manner and did not
Neela  Ramamurthy  (elder
worry about society’s daughter of Papanasam Sivan),
expectations. and Padma Veeraraghavan (ex­
To begin with, an air of me­ arrest  of  Christ,  his  subse­
lancholy is created by the play­ quent  torture,  finally  leading
ing of the violin and veena and to  the  crucifixion  unfold
through the choice of the raga through  well­choreographed
Sahana. A group of four Mohi­ dance sequences. A certain in­
niyattam dancers interpret the ventiveness  in  choreography
lines rendered by Fr. Paul be­ was  discernible  in  the  por­
fore launching into pure nritta trayal  of  the  cross  and  the
to  the  accompaniment  of  a crucifixion by the dancers. To­
chorus and music. Both moth­ wards  the  finale,  the  dancers
er and son appear as the suc­ recreated Michelangelo’s  fa­
cessive verses are sung. As the mous Pieta.
pallavi  is  repeated,  the  back­ Music for the 17­minute pro­
ground  music  along  with  a duction is by Fr. Paul Poovath­
fleet of swaras can be heard as ingal, set in a ragamalika. He is
the  dancers  perform  in  a assisted by noted violinist Ab­
group.  dul  Aziz.  The  seven  ragas  be­
The incidents leading to the ginning with Sahana and end­
ing  with  Ahir  Bhairav
appropriately  convey  the  es­
sence of the verses. The back­
ground  score,  which  lends  a
beautiful  dimension  to  the
show, is by Thrissur Pauly.  Concerts, discourses and honouring of
The  dance  sequences  have
been put together by Kalaman­
dalam  Husnabhanu  and  Kala­
mandalam  Sherin.  While  She­
rin donned the role of Mother
Mary, Kiran Krishnakumar who
portrayed Christ appeared a bit
too young for the role.
The writer and culture critic
is a trained musician.
CHENNAI
FRIDAY, APRIL 9, 2021
Word power (Clockwise
from far left)
D. Pattammal; Mangalam
Ganapathy; Bangalore
Nagarathnamma and
Karaikal Ammaiyar.
* PHOTOS: THE HINDU ARCHIVES
AND SPECIAL ARRANGEMENT
plained  by  Vidya  Kalyanara­ tis,  varnams  and  ragamalikas
man) too. she worked with.
V.M. Kodhainayaki, who was Rukmini Ramani, daughter of
married at age five, was a writer, Papanasam  Sivan,  composed
publisher, novelist and perform­ hundreds  of  pieces,  including
ing musician. She gave her first on the 108 divya desams and the
vocal concert for AIR Chennai’s shakti peetams.
inauguration  where  Rajaji  was In  their  exploration  of  this
the  chief  guest.  Her  husband rich legacy, Sowmya and Radha
was most supportive of her ac­ traced  the  evolution  of  women
tivities. She wrote many patriot­ composers from poetesses with
ic  songs  and  was  jailed  for  her a strong  underlying  bhakti
activism.  Besides  mainstream theme  to  performer  musicians
ragas, she also composed in ra­ who  melded  lyrical  expertise
gas that she coined. with  musical  acumen  and  so­
K.  Gayatri  spoke  of  her  late phistication. In subsequent ses­
guru, Suguna Purushothaman’s, sions, the panel hopes to focus
compositions  that  reflect  tre­ on  composers  from  Kerala  as
mendous understanding of me­ well as current Carnatic compos­
lody, layam and lyrics, the use of ers from all over India, many of
ragas  that  reflect  the  subject whom are active performers as
matter,  the  changes  of  nadai well.
(gait), and the different compo­ The author writes on classical
sitional  forms  like  thillana,  kri­ music and musicians.
Talk on Tamil poet and
composer
Get to know more about the life and work of poet and Carnatic
music composer Gopalakrishna Bharathi at a virtual event to be
hosted by Sruti, The India Music and Dance Society, Philadelphia.
Historian V. Sriram will deliver a talk on ‘The life and times of
Gopalakrishna Bharati,’ on April 10, 7.30 p.m. with musical
interludes by vocalist Bharat Sundar. The talk will be followed by
an interactive session that invites questions from the audience.
The non­ticketed event is to be streamed live on Sruti’s Facebook
page.
Thematic concert series
The SVK birth anniversary concert series, to be hosted online by
Naada Inbam, will be a thematic event this year. In order to
showcase the rich variety of compositions in Carnatic music,
each day’s concert will be based on a theme. The series, to be
held from April 10 to 19, 6.15 p.m., will begin with Jayashree
Aravind’s veena recital tomorrow. The theme for Bharathi
Ramasubban’s concert on April 11 is ‘Marundumagi.’ The
following is the list of concerts to be hosted: 
April 12: ‘Sanskrit compositions’ by Nanditha Kannan; April 13:
‘Tamil kritis’ by Dhanush Anantharaman; April 14:
‘Ramanatakam’ by Ashwath Narayanan; and April 15: ‘Vidya
Paraa Devata’ by Abirama Bode. The concerts can be watched
live on the Parivadini Music YouTube channel.
Ramanavami festival
religious scholars will mark the Sri
Ramanavami celebrations organised by
Sri Thyaga Brahma Gana Sabha. 
To be held from April 14 to 21 at Vani
Mahal, the festival will begin with
Sandeep Narayan's vocal concert on
April 14, 6.30 p.m. Damal Ramakrishnan
will present a six­day discourse on
'Ramayanam' (April 16­21, 6.45 p.m.) On
the occasion, the title of 'Pravachana
Sudha Vani' will be conferred on Ramakrishnan and Perundevi.
CH-CH
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FRIDAYREVIEW 3
CHENNAI

FRIDAY, APRIL 9, 2021

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‘Padavarnam’, presented by
Urmila Sathyanarayanan’s students, had
many fresh elements

New
perspectives
Dancers presenting ‘The legend of Jyotirlingam’

Pilgrims of dance
A
new dance production titled ‘The Legends
of Jyotirlingam’ will explore the mythologi­
cal stories behind the 12 most significant Jyo­
Rupa Srikanth attentive teacher, Urmila has done tirlingas  in  the  country.  These  are  Somnath  and
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well to recognise and encourage Nageshwar in Gujarat; Mallikarjun in Andhra Pra­

‘P
adavarnam’ was a
seminal work for
Urmila
Sathyanarayanan for
two reasons — it
established her commitment in
training students, and secondly,
established her individuality as a
dancer­teacher. The presentations,
though time­tested, had new
elements, new movements and
new emphasis to demonstrate her
creativity, and represented a
departure from the days of gurus
K.N. Dandayuthapani Pillai and
K.J. Sarasa.  tackling the
The movement vocabulary
included sharper, more angular
movements on the diagonal,
extensions of the nattadavu family,
and some Ravi Varma­inspired
poses and steps. There was
a a change in the
treatment of varnams
as well, with less
extended abhinaya
passages and more
nritta.
The Sunday morning
recital presented three of her
accomplished senior students —
Sowjanya Suresh, Akila Bala and G.
Shruthilekha. They were confident
and beat­perfect. Every dancer has
his or her strengths, and as an
these.  desh; Mahakaleshwar and Omkareshwar in M.P.;
‘Padavarnam’ turned out to be a Baidyanath in Jharkhand; Bhimshankar, Trayam­
margam with two padavarnams, bakeshwar  and  Ghrishneshwar  in  Maharashtra;
‘Sakhiye inda velaiyil’ to expressions for a length of time, four sides and the shodasa padavarnam. Beyond the opening Kedarnath in Uttarakhand; Rameshwaram in Ta­
(Anandabhairavi, Adi, Sowjanya presented some well­ upachara and homage to the ashta formalities, one sees lightning mil Nadu; and Kashi Vishwanath in U.P.
Shivanandam­Thanjavur Quartet) nuanced sancharis.  dik palakas within the tisra footwork, superfast execution, The Jyotirlinga represents Shiva, and it is consi­
and ‘Nathanai azhaithu va’ In the opening phrase of the framework, and kept precise time.  agility and ease in handling any dered that Shiva transformed into an infinite pillar
(Kamboji, Adi, Tiruveezhimizhai pallavi, the emphasis was on the In between the padavarnams speed in nritta. She carried the of light in these 12 spots. 
Kalyanasundaram Pillai). There recollection of past interludes there was a light­hearted javali, ‘Urmila araimandi’ at all times. Concept, research, choreography and direction
was no overlap in treatment and rather than the padartha abhinaya ‘Sarasamulade’ (Kapi, Adi, Poochi Each jati was almost an event with are by Guru Kanaka Sudhakar. Seven male artistes
interestingly, the sakhi mattered in of cajoling the sakhi, and in the Srinivasa Iyengar), in which the different reference points — one will depict Shiva through seven dance styles and
neither varnam. second part, ‘Endan samiyai nayika tries to convince Krishna was a long one, the other full of nine Bharatanatyam dancers will weave the narra­
The senior most dancer, azhaithodi va’, she presented that the time is not right for a twirls and jumps, another in tive. The artistes will also depict the geographical
Sowjanya, shone in the Rukmini’s letter to Krishna and dalliance, with the family around tisram, and the last superfast one and spiritual significance of each Jyotirlinga.
Anandabhairavi varnam, skilfully how he saved her, depicted the on a clear moonlit night. It is not was amazingly accurate. There The production is presented by Sunaina (Socie­
nayika’s surrender. The sthala straightforward because the was also a seamless move from jati ty for the Upliftment of National Arts of India) in
elongated jatis, puranam of Mannargudi Sri nayika has to show that she is to arudi without a break. association with the Ministry of Culture and Sahi­
(Karaikudi Rajagopala’s mismatched earrings flattered by the advances, but not Precision is her forte, which she tya Kala Parishad. It will be staged on April 10, 7
Shivakumar) was depicted well. There were, ready to reciprocate for fear of carries to all aspects of dance. p.m., at Delhi Tamil Sangam. The recording can be
but it was the however, some instances that being discovered. Akila rose to the Presenting Subramanya’s viewed  online.  For  details,  log  on  to  sunainaof­
bhava that was required more demands of the role with procession, with him on the fice@gmail.com or call 8588802608.
mesmerising. clarity. One reasonable clarity. The broad chariot, and the Kama­nayika
Able to hold on imagines smile she gives Krishna while encounter were different ideas
that the possibly shutting the door on his that were portrayed correctly.
crinkles face was the winning moment of The musicians were
will be the piece. She presented the praiseworthy: Hariprasad (vocal),
ironed out closing Tilang thillana (Adi, Saikripa Prasanna (nattuvangam),
over time.  Lalgudi Jayaraman) with some Nagai Sriram (mridangam),
Confident Akila has smart endings while landing on Sashidhar (flute), and Kalaiarasan
Sowjanya well­rounded skill sets. She one leg. (violin). The nattuvangam and
Suresh; Akila handled the opening tisra music were some of the strong
Bala and Alarippu (K.N. Agile and accurate points of the programme.
Shruthilekha Dandayuthapani Pillai), There was a surprise package in
* PHOTOS: SPECIAL with additions of attami Shruthilekha, a smart young The Chennai-based author
ARRANGEMENT in mandi adavus on all dancer, in the Kamboji writes on classical dance.

CM CH-CH
YK
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4 FRIDAYREVIEW
CHENNAI

FRIDAY, APRIL 9, 2021

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Vibha Rani’s stinging

satire won the
Nemichandra Jain
Playwriting Award
Thought- this year Connecting
provoking
the dots
(Right) Vibha
wanted her husband to understand Shan Jain’s
Rani receiving
her pain. On the other hand, she artwork
the award
perpetuates patriarchy by wishing for * PHOTOS:
from theatre
a male child and expecting her SPECIAL
and film
daughter­in­law Priya to manage both ARRANGEMENT
director Ranjit
home and work.
Kapoor.
“Patriarchy’s social conditioning is
(Below) The such that it refuses to go. Apart from
writer and the other abuses, financial abuse is the
book cover biggest,” says Vibha. When Priya will
* PHOTOS: SPECIAL
become a mother­in­law, says the
ARRANGEMENT
playwright, she will be different.
“Because of her financial
independence, she is in a position to
say, if my partner doesnt give me

Circle in a square
equal space, I have the option to leave
him, and she will pass on this thought

Anuj Kumar
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An to her daughters.”
The name Shikhandi, according to
Vibha, is just a metaphor for the

W
omen often wish
longingly that men
“indecisive nature” that defines many
men when they have to negotiate
Artist Shan Jain uses mandalas as art therapy

idea
would get pregnant at between mother and wife. “He is not
least once in their exactly a mama’s boy but like many V.V.RAMANI nearly 10 years ago. Fascinated with
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lifetime to men he hasn’t tried to work upon art  since  childhood,  her  explora­

A
understand just what women go himself to become a spouse sensitive ll art begins with a dot and when tions continued during her career
through in those nine months. In to his partner’s feelings. Your parents the dots are connected the line as  an  advertising  professional.  An
Vibha Rani’s play, Pregnant Father, the can’t teach you everything. Some appears.  It  is  the  artist  who introduction  to  mandala  art  left  a
wish comes true, and we get to once things are self­taught.” makes the line his own and embarks deep impact on her. “They say this
again discuss gender roles in a She says men claim to be strong, but on a personal creative journey. Bindu, art emerges during moments of in­
patriarchal society. in reality they are insecure, and this also  known  as  dapsa or  avayava in tense  personal  growth  and  that  is
Winner of this year’s Nemichandra reflects in social ills. The earning the Sanskrit,  is  the  point  around  which how  it  happened  to  me  as  well;
Jain Playwriting Award, the stinging bread argument doesn’t mean that the  mandala  is  created  representing transforming my life. I started using
satire tells the story of a mama’s boy
named Shikhandi who gets pregnant.
It spirals not only into domestic and
emotional upheaval but a social crisis
as well, with the role of doctors and
well-conceived men get reduced to a baby when it
comes to household chores. “The
bread you win is secured and managed
for the future by a woman,” says Vibha
Will the financial enabling of
the  universe.  In  its  most  simplistic
form, mandalas are circles contained
within a square and are arranged into
sections  organised  around  a  single
central  point  called  the
images,  forms  and  colours  to  ex­
press my innermost feelings. I try to
portray  love,  harmony  and  peace
using  gold,  black  and  white  pens.
Of late, I have begun us­
the media exposed. sharing women’s workload in giving women render men the weaker sex? bindu. The term ‘bindu’ ing  colours  and  paints
“It is very normal for people not to birth to humanity.” Taking theatre home Vibha replies, “ Women are wrongly instantly  brings  to  the too. The whole process
understand what pregnancy entails The play refers to the little­known referred to as the weaker sex today, mind  celebrated  artist of creating a mandala is
In 2014, Vibha started the concept of
for a woman. The physical aspect is mythical tale from the Mahabharata, ‘room theatre’, where she turns her and I don’t want that men should be S.H.  Raza,  since  it  was linked to a purpose or
handled by the doctor but what about where king Yuvnashva gets living room into a stage. “This led to called the same tomorrow. The two the centre of his life and intention,  therefore
the emotional and psychological accidentally pregnant. It also forms the concept of intimate theatre and is should be allowed to co­exist with work.  each work is about or­
issues. The upbringing of boys is such the basis of Devdutt Patanaik’s book popular among those who can’t their nuances and virtues so that they In  the  Hindu  and ganic  individual
that even today only about 1% of them The Pregnant King. “Our mythology afford the cost of staging proscenium support each other.” Buddhist  traditions, growth.  Each  work
are perhaps sensitive to the deals with many complex issues, and theatre. During the pandemic, it has Female voices in theatre are few mandalas  are  objects  of thus looks different and
emotional needs of their male pregnancy is no exception. I become all the more relevant.” A and far between, and Vibha says there meditation  to  aid  spiri­ I have  created  nearly
cancer survivor and motivational
spouses,” says Vibha, who has spoke to Mr. Patanaik before is a gender bias in this field as well. tual  development.  The 200  over  the  years.  I
speaker, Vibha also writes extensively
more than a dozen plays to including his voice in the play,” in Maithili and her collection of short
Men can participate in amateur belief is that by entering call them ‘Urban Man­
her credit. says Vibha. In 2015, Patanaik’s stories recently won the Kiran theatre, but but women can’t afford to the mandala and moving towards the dalas,’” she says.
According to Vibha, every book was adapted into an Puraskar. Here again, she weaves return home at 10 in the night. They centre, one is guided through the cos­ Realising  that  this  art  form  has
man before birth is a female English play, Flesh, by Kaushik characters and stories that are rooted are expected to think of the mic  process  of  transforming  the  un­ the power to heal since it entails a
because he spends nine Bose, examining issues yet progressive. “I come from the household. This has limited the role of iverse from one of suffering into one of meditative  process,  Shan  Jain  be­
months inside a female body. surrounding gender and land of Sita. Her lifting the bow was women in theatre.”  bliss. gan  conducting  workshops.  The
“If he carries that nine­ sexuality. not magic, she had training in arms. In her popular play, Doosra Admi, Around 1938, Carl Jung, the famous most recent one was for cancer sur­
We have had a culture of Maitreyi,
month sensitivity with Doosri Aurat, first staged by Rajendra Swiss  psychoanalyst,  introduced  to vivors. She also does commissioned
Katyayni and Ubhaya Bharati, who
him, he could handle indulged in debates with Adi
Gupta and Seema Biswas in Bharat the  Western  world  the  concept  of works for marriage, childbirth, etc.,
the emotional needs Sankaracharya. But over the years, Ran Mahotsav, Vibha talks of a new creating mandalas for self­expression, believing that besides a therapeutic
of his partner.” women’s voices have become feeble relationship being forged, a bond of discovery  and  healing.  He  had  real­ effect, mandalas also bring positive
The premise is in stories. My characters have friendship beyond the gender divide. ised that the colours, shapes and pat­ energy into homes.
futuristic, and multiple identities. They may speak “On the surface, it seems like a play on terns  of  what  he  made  changed  de­ Art  therapy  has  gained  signifi­
Vibha points to the English at work but converse in extra­marital affair and for years I was pending  on  his  state  of  mind.  He, cance  during  the  pandemic  with
patriarchal mindset Maithili at home.” asked to change the ending. But therefore, used it as a tool to encour­ many people experiencing anxiety
that runs scientific today’s generation appreciates it . After age  his  patients  to  create  their  own and stress. “The process of creating
research. “Scientists all, we come from a culture where mandalas and he found that it helped a mandala  can  have  a  calming  ef­
are working on Shikhandi’s widowed mother is an Krishna and Draupadi were friends.” to soothe their chaotic mental states. fect,” says Shan. 
achieving interesting character. On the one As she says, a female voice tries to Mandala art found its way into the The author is a Chennai-based
immortality, but there hand, she is happy with the news of unite people, nurture relationships; it life  of  Shan  Jain,  a  self­taught  artist, freelance writer.
is no attempt on her son’s pregnancy, as she always doesn’t make them fall apart.

Calendar
Interactive lec-dem session
Antarnada will host senior musician
Charumathi Ramachandran's lecture
demonstration on Pallavis on its
Facebook page, April 10. The
interactive lec-dem aims to help
music aspirants and rasikas learn
about what goes into pallavi singing
and how to appreciate pallavis in
concert. For tickets, log on to
ticketing.events/.../pallavi-lecdem-
by-vid-charumathi-ramachandran
South Asian art exhibition
The fifth edition of Delhi Contemporary Art Week,
a collaboration between seven galleries in the
capital, has begun and will be on until April 15.
On Kishore Kumar
Curated selections of contemporary South Asian Sumana Roy, Associate
art are on show at Bikaner House and in the Professor of Creative Writing,
galleries’ own spaces. A number of events will Ashoka University, will talk
complement the exhibition, from talks, workshops about ‘Kishore Kumar the
and walkthroughs to wine tastings. Provincial’ in an online event
to be held by Ashoka
University on April 10, 6.30
p.m. The talk, Kavi Kishordas,
Kishor Kumar Khandwawala,
Kishore Kumar, will examine
the gibberish vocabulary and
improvisations Kishore Kumar
brought to Bengali and Hindi
cinema, offsetting the power-
centres of gharanas.

Talk on Ambedkar
Tamil play
On the 130th birth anniversary of B.R.
Ambedkar, Dalit-Queer interdisciplinary artist Naatya Naadha Nataka
Aroh Akunth will deliver a talk on the legacy Sangamam will stage Tamil
Ambedkar left behind for queer movements. play Manitham Punidham, on
Organised by Rosa-Luxemburg-Stiftung / April 13, 6.30 p.m. at Vani
English and South Asian Scholars and Activists Mahal. Written and directed by
Solidarity, thes online talk titled The Queer in K.S.N. Sundar, the play is about
Ambedkar will be held on April 21. Zoom link: a greedy man, who wants to
https://zoom.us/webinar/register/ usurp a temple property.
WN_hqtzUq71R0mvrs07h4VdKQ

Lotus as muse
Sufi music concert Dhvani India Performing Arts Society of Central Ohio will
A Sufi music concert featuring Girish present an online concert by Nisha Rajagopalan on April
Sadhwani and well-known teenage singer 11, 10 a.m., titled 'Thamarai.’ The young vocalist will
Khanak Joshi (in pic) will present compositions
be held at Chiranjiv Singh selected for their poetry
Auditorium, Alliance and the recurring lotus
Française, Bengaluru, on motif in Carnatic music.
April 10. Titled Jalsa-e- It will be a solo concert
Sufiyana, it is a venture by with tambura
Charista Foundation in accompaniment.
collaboration with Alliance For tickets, log on to
Française to raise funds for the Dhvani website at
underprivileged artistes. dhvaniohio.org

CM CH-CH
YK