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Balasaraswati
(1918-1984)
Vina Dhanammal |
Jayammal |
Balasaraswati |
Lakshmi |
Ranganathan |
Viswanathan |
From the book BALASARASWATI, by Narayana Menon,
published by the
Inter-National Culture Center, 16 Hailey Road, New Delhi 1, INDIA.
In the history of dance, we find every
now and then a supreme artist who dominates the field for a generation,
enriching the existing tradition, providing a corrective to current
practices and setting standards for generations to follow. Anna Pavlova
was one such artist and so was Vaslav Nijnsky. And today in India
Balasaraswati is one. The great dancer, the really great dancer, is
perhaps an even rarer phenomenon than great musicians or painters or
sculptors. This is because the dance is the consummation of all the
arts. The dance, in addition to the qualities that pure dancing demands,
must be sensitive to and have an uncanny feeling for music. He or she
should have an artist's sensibility to the significant line and a
sculptor's approach to form. He should have a practiced actor's response
to a dramatic situation. Rarely does one come across all these
attributes in one and the same person. But when one does, and
Balasaraswati has a generous measure of all these, the result is
greatness.
The flowering of Balasaraswati's genius
has taken place in a garden of great splendor. For generations, the
family has been a repository of the Karnatic tradition in its pristine
glory. The family tree can be traced back to over two hundred years.
Every branch is dotted with music and dance. Balasaraswati's
great-great-great-great grandmother, Papammal, was a musician and a
dancer at the Tanjore Court. that was in the eighteenth century.
Papammal's daughter, Rukmini, was also a court musician at Tanjore. By
the time we come to Rukmini's daughter, Kamakshi (circa 1810-1890), the
picture is clearer and more details are available. She had been taught
by the great Ganapati Sastri and danced at the Tanjore Court till the
age of seventy-five. Of Kamakshiammal's children, two were famous. One
was her son Apparkkannu who took to the violin, at that time a newcomer
to the Indian musical scene, and attained considerable mastery over it;
the other was her daughter Sundarammal (circa 1820-1888). Both were
pupils of Subbaraya Sastri, and himself a composer of great qualities
who has perhaps not had the recognition due to him. It is on record that
Subbaraya Sastri taught the well known kriti, Nannu brochutakau in Todi
to Ponnuswamy and Sundarammal. While learning the kriti they sang the
phrase Mayamma Kamakshi with such inspiration and feeling that Sastri
said that the Goddess Kamakshi certainly belonged to them. The family
and their descendants today are thus a repository of the compositions of
Syama Sastri and Subbaraya Sastri and the most authentic interpreters
of their works. It is also to the credit of Ponnuswamy that he persuaded
his neice and Sundarammal's daughter, Veena Dhanam (1867-1939), to
take up the Veena. No finer or more sensitive exponent of the instrument
is known in the history of Karnatic music. The Veena was her natural
vehicle of expression (though she was also a vocalist of the highest
quality), and her music was the quintessence of the Karnatic tradition.
Veena Dhanam and her sister
Rupavati both practised dancing for some time; so did Balasaraswati's
mother Jayamma and almost every other member of the family. Music and
the dance reigned supreme in the household. The family was an
inspiration for composers and teachers alike. First there was the
association of Subbaraya Sastri. Then there was Sattanur Panchanadier, a
pupil of Muthuswami Dikshitar, who taught music to Veena Dhanam and
Rupavati. Patnam Subramania Iyer taught Dhanam's daughter. A great many
of the javalis of Dharmapuri Subbarayar were composed in that home.
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photo: Jan Stewart
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Kandappa
Ganeshan Pillai
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It was into such a treasure-house of
the Karnatic tradition that Balasaraswati was born on the 13th of May,
1918. Music and dancing were in her blood. And music and dancing were
all around her. And they were, of course, music and dancing of the
highest quality and practised and heard in abundant measure. Her formal
training started at the age of four under the late Kandappan.
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Guru Kandappa Pillai (early 1940's) |
Jayammal
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Kandappan himself was the inheritor of a
great tradition. For over six generations, the family were nattuvanars,
dance teachers. Kandappan's great-great-great grandfather Gangamuthu
must have been a contemporary of Papammal. Two generations later we come
to the celebrated Tanjore quartet-Chinnayya, Ponniah, Sivanandam, and
Vadivelu- all of them teachers and composers of the highest standards.
Kandappan was the great-grandson of Chinnayya, the eldest of the
Quartet. Kandapan's father, Nellayappan (1854-1906) was perhaps the
finest teacher of his time. Kandappan born in 1899, died prematurely in
1941 at the age of 42. The tragedy of his early death is alleviated only
by the fact that he trained with a devotion rare even in those days of
dedicated teachers the greatest Bharata Natyam dancer of our age.
[Kandappa's son, Ganeshan Pillai, was
trained in music and dance in Jayammal's house. He became
Balasaraswati's nattuvanar at an early age. Unfortunately, he died in
1987, but he too left an impressive legacy of teaching, music and dance
compositions. Dancers who have studied with him; Nandini Ramani
(Daughter of the distinguished Sanskrit scholar Dr. V. Raghavan), many
of Nandini's students, her sister Premavada, the well-known Dutch
Sanskrit scholar Saskia Kersenboom Von Duran, Sushama (Nandini's
daughter), and Kay Poursine continue to perform and teach his
compositions.]
Balasaraswati's Arangetram (debut) took
place in her seventh year at Kancheepuram at the Amanakshi Amman temple.
The great Nayana Pillai was present at the Arangetram. Word had gone
round in Kancheepuram that the great Dhanam's grand-daughter was to
dance at the temple and there was an enormous crowd. But the
seven-year-old child betrayed no signs of nervousness and astonished
those present with the exactitude of her rhythm and the precision of her
movements. "Tremendous" was the word with which the excited Nayana
Pillai summed up the evening.
Soon she was in great demand for public
performances. But life was by no means a bed of roses. Those were the
days of the Devadasi Bill. While veteran musicians and connoisseurs went
into ecstasies over her art, there were others who scoffed at the
practise of Bharata Natyam as a profession. But Jayammal, her mother,
stood firm. The result was not only a personal triumph for
Balasaraswati, but the preservation and the strengthening of a great and
ancient tradition.
No dancer captured the public imagination as
Balasaraswati did in the thirties and forties. Bharata Natyam to the
public until then was an esoteric art practiced for the pleasure of a
few connoisseurs and dilettantes. Outside the pale of the temple [and
court] there were hardly any public performances. Balasaraswati made the
public aware of Bharata Natyam, not by deliberate efforts as a
reformer, but by the beauty and the eloquence of her dancing. It was
left to others to fight prejudices and stupidity, do research, delve
into the past, give the dancer's profession respectability and so on. |
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"In Loving Memory" Lakshmi Knight (1943 – 2001) by Kay Poursine |
Lakshmi
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Lakshmi Knight, the only daughter of T.
Balasaraswati, died December 23, 2001 in her mother’s house in Kilpauk,
Chennai. When I last saw Lakshmi, she was in a St. Francis Hospital
cancer ward bed, Hartford, Connecticut. She told me she was determined
to get on a flight to Chennai. It seemed possible to her at the time,
that if she could get to her beloved mother’s house, maybe, just maybe,
she would feel better and perhaps miraculously begin to heal. Muni, her
long time close friend and assistant stood at her bedside and looked at
me in despair. I reminded Lakshmi that if she left Muni behind in the
U.S. he could not make his famous decoction coffee for her every
morning. Lakshmi smiled and we teased him in the way I always loved. His
coffee and cooking are superb. As I left Lakshmi’s room that day, I
blew her an abhinaya kiss. She smiled a beautiful broad smile. Then her
face reflected something astonishing. Perhaps I was seeing her knowledge
and wonder at the mystery of what was ahead of her.
My first visit to India was a surprise. In
1976 Bala and Lakshmi sent a formal written invitation to both Kamala
Cesar Buckner and me to study in what was then called Madras for 6
months. Kamala is presently the creator and director of Lotus Fine Arts
in Manhattan. Both Kamala and I had previously taken classes in Bala’s
summer residencies in 1973, 1974 and 1975 in California and Washington. I
think this invitation was a leap of faith for Bala, especially when it
was known that she was not inclined to teach westerners in India. The
prospect of going to India did not hold the big fascination for me that
it did for many westerners. India scared me. Kamala and I flew to
Madras, then experienced all the incredible ‘firsts’ that most
westerners encounter on their first visit to India; intoxicating aromas
of jasmine, sambar, idlis, roasting arabica coffee beans, temple camphor
mingling with the strong pungent odor of the Kaveri river. I got sick
several times. Bala worried and Lakshmi gave moral encouragement.
Studying dance in India was harder than I had imagined. In six months
Kamala and I learned complete programs of Bharata Natyam every dance
chosen in advance by Bala. It was important that each dance suite our
level of skill and most important fit our temperaments. Toward the end
of my stay Lakshmi offered to sing in the recording for the padam
Velavare. Velavare was an ‘advanced’ dance as far as I was concerned.
Lakshmi’s voice on the recording is sensual, like a lark calling out for
its mate and full of the essential emotion in the padam. To my surprise
Lakshmi was cautious about how her voice sounded on the recording and I
didn’t understand why. When Bala listened to the final tape, proudly
nodding her head in approval, I was deeply moved by the glow of humble
satisfaction on Lakshmi’s face. I then realized how difficult it was for
Lakshmi to develop artistically under the watchful gaze of the great
Balasaraswati.
How can I explain the loss of someone who I
see in my mind’s eye inseparable from another? I see Lakshmi and Bala as
one, especially when Lakshmi was performing or teaching class. Lakshmi
had extraordinary sophistication combined with a luxurious sensuality
and playfulness that infused everything she did. My fondest memories of
both Bala and Lakshmi are happy excursions to the Mylapore Kapaleeswarar
temple, shopping at the temple tank market, picking out the perfect
sari, sitting on Bala’s veranda in the cool of the late Kilpauk
afternoon and teasing each other about one silly thing or other. Coming
back from an evening concert or a favorite dining and dancing spot, I
got used to Bala sitting with Lakshmi in their living room asking for my
‘report’ on the evening. Although at first I took exception to it, I
came to realize and be thankful that both Bala and Lakshmi felt a great
responsibility for my wellbeing. I miss this too much. How can you bring
back someone’s laugh, or the way they tease you? I believe they are
together now enjoying each other’s company, laughing, joking, dancing
and singing in the grandest of saris.
The close bonds Bala and Lakshmi shaped with
the American dancers who found inspiration in their company and
teaching are an important part of the continuing life of this rare dance
and music tradition. I have often wondered at my good fortune in seeing
the incomparable artistry of Bala on stage and in class, having the
opportunity to learn from both Bala and Lakshmi, and watching Lakshmi
blossom into an extraordinary artist. Their legacy continues in the
minds and hearts of the dancers they guided into this timeless
tradition. |
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T.Viswanathan (1927 – 2002) "A Sound like No Other" A Tribute by Kay Poursine |
Viswanathan
Ani
Grandson of Balasaraswati
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T. Viswanathan, brother of T.
Balasaraswati and T. Ranganathan and uncle of Lakshmi Knight, died
September 10, 2002. His death is a monumental loss for the music world.
He was the epitome of the great Vina Dhanammal family music tradition.
When he played his flute or sang everyone heard a rare musical
expression at one with nature.
Three days before he died, I accompanied
Viswa to the Sri Satyanarayana Temple’s dance drama fund raiser in
Hartford, Connecticut where he gave his blessing at the beginning of the
performance. During our return trip to Middletown, he told stories of
performances with Bala, his mother Jayammal, the great mrdangist T.
Kuppuswami, and Ranga his brother, with the young Lakshmi sitting on the
side devotedly assisting the family group. Recalling the evening Bala
performed for the Maharaja and Maharini of Travancore, Viswa described
the royal puja room where Bala danced. The program consisted exclusively
of Maharaja Sri Swati Tirunal’s compositions. "The performance blew
everyone’s minds. So many stories to tell, Kay, so many stories." I sat
in the back seat wondering if I would ever hear them all.
My first Karnatic singing class was at Mills
College during Bala’s residency in 1972. I had no idea what was
expected when I heard that it was necessary for every dancer to learn
the music for the items Bala taught; the kriti Natanam Adinar, the padam
Alolam and Kalyani Jatiswaram. Viswa taught singing and his brother,
Ranga, taught nattuvangam for tisram alarippu. I remember hearing
Viswa’s concert the night before Bala’s performance and was mystified
that we were expected to learn this incredible music. As I sat in that
first class with Viswa patiently guiding the American dancers through
the first swara exercises, I was in awe of his attention to details in
the tones and sounds that at that time I did not hear. The subsequent
vocal classes with Viswa at Wesleyan were a great challenge for me.
Viswa wanted not only excellence from his students, but also a student
to develop a refined sense of taste so famously exemplified in the
artistry of his family. Because of his teaching, I hear the universe
when I dance.
I think there are many people who miss Viswa
terribly, above all his wife, devoted student, and soul mate, Josepha
who must endure this heartbreaking time. His passing is particularly
difficult for his current students. They must accept the unacceptable.
He can not be replaced, but will remain in our hearts and minds forever.
He has taken his place in that extraordinary family group with his
beloved Bala, Lakshmi, Ranga, Jayammal and Dhanamal. |
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