Trained in Bharatanatyam, with add on skills in vocal music and veena, Aniruddha Knight is passionate about carrying forward the legacy of Balamma. He is the ninth generation dancer and the first male dancer of the matrilineal family of Balasaraswati.
The eighth edition of Kala Coast Impact series, featuring Aniruddha Knight was hosted at Clap Centre, Malad West, Mumbai. The event celebrated the birth centenary year of the legend T. Balasaraswati with a straightforward repertoire by Aniruddha. “We included an interactive session for the benefit of young learners,” said Sudhir Nayak from Kala Coast.
Abhinaya Senthil, Aniruddha’s disciple, presented few adavus, in different speeds and Aniruddha went on to say that in their bani, the adavus are named after the sounds produced by the leg and not by leg movements. Tisra Alarippu that came next was routine, followed by Jatiswaram in Hemavati, Misra chapu, very traditional with mei adavus and elegant side movements.
In the brief shabdam, followed by edited varnam segment, the parampara format was vivid in ‘Sarasijakshulu’ in ragam Kalyani. His forte in Pada vinyasam and multiple ways of portraying a sahityam was interesting to watch. Padam ‘Payyada’ in Nadanamakriya brought out his abhinaya skills. The concluding piece ‘Krishna Nee’ in Yamunakalyani was an emotive excursion.
The support for the dance was the efficient team of Ranjini Menon (nattuvangam), Usha Shivakumar (vocal), Adyar Gopinath (mridangam), Mangala Vaidyanathan (violin) and T.R. Moorthy (flute).
Post the dance recital there was an interactive session on Nritya and Abhinaya, packing curious questions and candid answers, moderated by Revathi Srinivasaraghavan, senior dancer and guru from Mumbai. Excerpts.
It is important to learn and do what you are told. Years of learning and watching is a needed phase, mimicking what you iconise. Dancing is not an automatic process or overnight stardom. It takes 20 to 25 years to develop, besides knowledge of puranas and sastras.
Aniruddha opined that Shabdam, reliant on abhinaya has almost disappeared from margam. Due to short duration of programme, warm up before the event is important. “Today you need to rush with a 25-minute varnam.” He recalled his grandma’s take on sastras.
“My grandmother had memorised Amarakosa. Her level of knowledge was such that she could do a varnam for one and half hours.”
Aniruddha said that dance is not a book tradition. “You are in the right path when you refer back your action to sastras. Perception when to use, when not to use is necessary in prayogams.”
Revathi posed a question to Gopinath, mridangam artiste, on accompanying and anticipating the moves. He replied that it is necessary to keep the eyes open, to follow the dance. “The dancer too picks up from me. Rapport should be there.”
Aniruddha recommended an even balance of natya dharma and lok dharma. The matching point of the mundane and esoteric gives an aesthetic experience. “Art for me is escape to another world.”
Aniruddha concluded that every programme is a challenge when you carry forward a tradition. Once you understand the magnitude, it is not a burden.
