Styles, past and present: Documentary on Kumbakonam Bhanumathy

Kumbakonam Bhanumathy and her performance of the swarajathi ‘Maa Mohalahiri’ were the focus of a documentary screened recently

Sujatha Vijayaraghavan

It is sometimes interesting to go on a nostalgic trip, revisiting artistes and art practices of the past. It brings into sharp focus the changes an art has undergone over a period of time. Natyarangam, the dance wing of Narada Gana Sabha, besides presenting talented artistes, also has lectures and film screenings to highlight the many facets and technicalities of dance through their monthly programmes.

A documentary made in 1993, as part of a senior fellowship Padavarnam project, by Sujatha Vijayaraghavan was screened recently, wherein the Khamas swarajathi ‘Maa Mohalahiri,’ as performed by Kumbakonam Bhanumathy, was taken up for demonstration and discussion.

Sujatha provided the background details of this composition: how under the patronage of Ettayapuram Samasthanam, this swarajathi written by Kadigai Namashivaya Pulavar with music composed by Subbaraya Dikshitar, was a part of a natya nadakam ‘Villi Bharatham,’ before it gained popularity as a solo composition.

 

Kumbakonam Bhanumathi (left) and Varalakshmi.

The first half of the film featured an interview with Kumbakonam Bhanumathy, who in her initial years danced with her aunt Varalakshmi and they were popularly known as ‘Varalakshmi Bhanumathy duo.’

Solo performer

She later made a mark as a solo dancer and performed at prestigious venues like the Music Academy.

The dancer’s personal life, her training with various gurus in dance and music, her foray into films, where she danced, were touched upon.

Bhanumathy’s version of this Khamas swarajathi, which she taught her granddaughter Anbukarasi Maran, who performed it in the film, was interesting to watch and also helped understand the manner in which these pieces were performed earlier.

The sancharis, following the padaartha, were simple and suggestive. The jathikorvais set to simple and short sollukattu passages were a total contrast to the elaborate storytelling patterns and rhythmic fervour seen in recent times. The film would have had better impact if it had captured the artiste performing or demonstrating a few movements.

Even the art of filming a documentary has undergone a change as seen by this one. From the direct camera shots of the anchor and artiste, it has moved on to more realistic and aesthetic methods of picturisation.

Why a swarajathi became a part of a padavarnam project was a question that remained unanswered?

The documentary could have analysed the stylistic details and rhythmic patterns by focussing on them , so that young dancers can benefit from the knowledge of past practises.