After the flurry of activity, felicitation sessions and seminars the evening on Day 2 of the Balasaraswati Birth Centenary event ushered the audience into a world of dance, which was best exemplified through padams. The unhurried pace, eloquent abhinaya and above all the meditative music kept the viewers riveted for over two hours.
The interesting factor here was except Priyamvada Sankar, Nandini Ramani and Sushama Ranganathan, the artistes were from different schools but demonstrated the essence of Bala’s style, which hinged on minimalism. If for the seniors Priyamvada and Nandini it was an emotional revisit — bordering on the surreal — to their teen years, for Sushama it was a bonanza — to pay homage to the icon along with her mother and aunt.
Veterans in their own right, the other dancers such as Jayanti Subramaniam, Priyadarsini Govind, Urmila Sathyanarayanan and so on, each presented a favourite padam of the celebrated Balasaraswati. And they spared no effort as their performances showed. A few glimpses:
Priyamvada Sankar
‘En Palli Kondirayya...’
Jayammal, Balasraswati’s mother, literally followed an old beggar woman in the market place, who was singing this song in Madyamavati. Mesmerised by the effect, Jayammal tracked her down, took her home, fed her and learnt the version. Needless to say, she finetuned the song and it became one of Bala’s masterpieces. Priyamvada was a picture of elegance and dignity as she enquired the Lord the reason for reclining? Hands and face did the communication as the dancer presented the song, full of poise. Did one hear the ankle bells? Yes, ever so slightly, not disturbing the mood. The orchestra: K. Ganesan - Nattuvangam, Kanchipuram C.P. Gnanasundaram assisted by K. Ramiah - Vocal, Kanchipuram G. Ekambaram - Mridangam and N. Radhakrishna Naidu - Clarionet
Nandini Ramani
On Tiruvotriyur Tyagarajan
This was again a rare treat. Nandini danced as the recorded voice of Bala sang the padam, daughter Lakshmi giving support. “Padam was a must in the debutante’s list and I presented this at my arangeram,” said Nandini, who sang along. A visibly moved dancer, depicted the longing of the soul for a union with the Almighty. Again the chaste Bala style was in full flow with abhinaya and sahitya merging seamlessly. The equal importance Bala gave to music and diction was in evidence. The vintage orchestra was K. Ganesan -Nattuvangam, T. Balasaraswati assisted by Lakshmi - Vocal, Kanchipuram G. Ekambaram - mridangam, N. Radhakrishna Naidu - Clarionet.
Sushama Ranganathan
‘Padari Varugudu...’
The legacy is safe in the hands of Sushama, who captured the beauty and majesty of Pazhani Velavar. “It was a unique experience, to be a part of this homage — I danced with young aspirants on the first day and on Day 2 got the privilege of sharing space with senior artistes, whom I have admired,” says the daughter of Nandini Ramani. Through a mobile face, highlight of which are sparkling eyes, and movements a blend of fluid grace and geometric precision, Sushama conveyed the yearning of the nayika as portrayed Subbramaiyer in his Khambodi Padam, set to Rupaka talam.
The orchestra from this point had Chitrambari Krishnakumar on the vocals, Veda Krishnan (mridangam), M. Venkatakrishnan (nattuvangam) and Eshwar Ramakrishnan (violin).
Jayanti Subramaniam
Valapudasa
“The love and respect with which artistes came together to celebrate Bala and her art and the synergy, which prevailed during the two days is something words cannot describe. The entire event was a learning process, which showed me facets of Balasaraswati’s art,” says Jayanti Subramaniam, whose depiction of Kshetragna’s Varali padam, was moving, her face quick to capture fleeting emotions.
Nityakalyani Vaidyanathan
Payyada
Paiyada challenges the dancer’s ability to communicate only through emotions, facial in particluar. Nityakalyani rose to the occasion with a beautiful interpretation of the deserted Nayika’s love for Muvvagopala. “The event brought me close to the amazing interpretive and communicative genius of Balamma and also her absolute mastery over music and natya,” says the senior dancer.
Parvati Ravi Ghantasala
Ella Arumaigalum
Ghanam Krishna Iyer’s Todi padam struck a different chord. The heroine, a married woman, wonders who might have corrupted her beloved husband’s mind. Parvati brought alive the confused state of the woman, who declares he is nonpareil. “It was a wonderful opportunity to learn a Tamil padam in authentic Balamma’s style. I feel fortunate to have a peep into the subtle and gorgeous world of Balasaraswati,” records Parvati.
Urmila Sathyanarayanan
Idai Vida Innum
This heroine confronts her beloved with evidence about his dalliance with another woman. “So you just get out,” she says firmly, shutting her door. Urmila’s face and body language left no room for any ambiguity. The quicksilver expression and movement made the padam a delight to watch. “The event gave me an opportunity to learn nuances, which make this style so unique. It is an ocean and I feel my experience is a drop, which nevertheless is precious.”
Sailaja
Ini yenna pechirukkudhu
The Sahana padam of Subbarama Iyer was well handled by Sailaja. The forlorn nayika, waiting for her beloved, was portrayed with conviction. “I was extremely happy to join the band of dancers, under Dr. Raghavan Centre for Performing Arts. It is an opportunity that rarely comes one’s way,” she says.
Lakshmanaswamy
Vazhi Maraithirukkudhu
Referred to as Balasaraswati’s most favourite, this song of Nandan, desperate for a darshan of Chidambaram Nataraja, laments about the bull, which blocks his vision. “Won’t you move a bit,” he pleads in this Nattakurinji composition of Gopalakrishna Bharati. Lakshmanaswamy did well to convey the angst of Nandan and later his joy, when Nandi actually moves to let him see the image of the Lord. “I felt privileged to present a padam, which was one of Balamma’s masterpiees,” says Lakshman.
Priya Murle
Yarukkagilum Bayama
Another iconic padam, it has the heroine expressing her love without reservation. “Who should I fear,” she asks in this Begada song of Subbarama Iyer. Assuming the role of the saucy damsel, who cares little for gossip, Priya Murle captured the contempt the woman has for opinion. The disdain came through well in her expression. “Oh I was so apprehensive, the padam being so famous and presented by senior dancers. I consider myself blessed for getting the opportunity to present the song,” says Priya.
Uma Ramesh
Mugathai kaati
Addressed to Tiruvarur Tyagesa, dear to Balasaraswati, the Bhairavi padam by Papavinasa Mudaliyar describes how the Lord only makes his visage visible, not revealing his full form. Uma Ramesh portrayed with sensitivity the devotion of the soul, which pines for a glimpse of the dancing deity.
Priyadarsini Govind
Kuvalayaakshiro
“The generosity with which artistes from other dance schools were included and shown the speciality of the great Balasaraswati is the biggest takeaway of this event,” says Priyadarsini Govind, who presented Kshetragna’s Gowlipantu padam in her inimitable style — filled with subtlety and emotion.
