How do you encapsulate in a few hundred words this unparalleled thespian’s achievements in the field of Natya, which spans almost seven decades, and is still going strong? “The milestones are the result of hard work. Nothing is given to you on a platter,” says Vyjayanthimala Bali, as she welcomes me with a warm, bewitching smile into her expansive drawing room, where every niche spells art and aesthetics.
“My diligence is more because I can’t settle for mediocrity,” continues the octogenarian as I gaze at the erect, perfect posture of the slim and statuesque dancer, enshrouded in mystique. Stating that Vyjayanthimala looks beautiful is an understatement. Her stately aura remains unparalleled.
“I’m reviving the dance-drama after quite a while,” she informs. Originally it was titled ‘Andal’s Thiruppaavai.’ “Rajamma (Mrs.YGP) re-christened it ‘Sri Andal’s Sanga Tamizh Maalai.’” She points out to the radiant, life-sized portrait of herself as Andal mounted at a vantage point above the staircase. ‘Sanga Tamizh…’ which she’s been performing from age 15 is still going on and she continues as its fulcrum! How many can even dream of such a feat?
Nothing but dedication
“People ask me how my body is so flexible, when they find it tough to even bend slightly or sit on the floor. It’s nothing but will power, dedication and diligence.” For all that, Vyjayanthimala has just recovered from a fall. She was in Bangalore for her student’s arangetram, when it happened. Son Suchindra keeps advising her to take it easy. “‘How long do you want to go on, amma? Relax,’ he tells me. But this time it’s for Rajamma. I have to do it. Bharat Kalachar is like my home sabha and the YGPs are family. Pachanna (YGP) is my uncle.”
Incidentally, Vyjayanthimala is presenting just one show this December, and she felt “it has to be ‘Sanga Tamizh Maalai.’”
Vyjayantimala Bali
“Have you heard of Nindha Sthuthi,” she asks me suddenly. It sounds like an oxymoron to me. “Yes, your love for God is so much that you scold him when you feel he doesn’t respond enough to your bhakti. My ‘Siriya Thiru Madal,’ has examples of it,” she explains, as she shows me a DVD of the dance-drama with the tagline, ‘A devotion driven by love.’ It’s the story of Thirumangai Azhwar, who through his unflinching devotion transforms himself into Parakala Nayaki, yearns for the love of the Lord and visits all the Divyadesams to earn it. “It was a dual role I played and several religious savants, including the Jeeyar Swami, who watched it, were so moved,” she recalls.
Vyjayanthimala seems to have a penchant for Vaishnava themes. “Born in Triplicane and listening to the religious chants and music reverberating there must have impacted me. But my thematic productions also include ‘Sant Sakhubai,’ ‘Chandalika, and’ ‘Ekta,’ which Rajiv Gandhi requested me to perform for the centenary celebrations of the Congress party.”
‘Om Shanti Shanti Shanti’ has a very significant place in her repertoire. “It was my husband’s work, which I adapted to natya format.” Her eyes shine with passion as she talks about it. “He was a writer with an admirable creative bent.”
Vyjayanthi is a trained classical singer. So music in her productions always stands apart. “According to my grandmother, music and dance go hand in hand. So she made me train under some of the best musicians and natyaacharyas, including D.K. Pattammal and K.P. Kittappa Pillai.” Music for the 30 pasurams was composed by Madurai N. Krishnan. “We would sit together for hours discussing the mood for every pasuram and the music to go with it. The verses are flowers which have been strung together like a garland,” she says. “Neither can I forget Prof. M.A. Venkatakrishnan who headed the Department of Vaishnavism, at the University of Madras, and Bhooma, who guided me in these endeavours.”
The props, costume design and choreography are all hers. “I prefer to say that I’ve set it all up. Choreography isn’t exactly the same,” she contends. There was a time when Vyjayanthimala danced to all the 30 pasurams. “Rajamma would say that the changes in the myriad expressions where as quick as electricity passing through. This time I have about six performers with me.”
Just then granddaughter Swara runs in. “This kutty of mine will also be doing a few steps for ‘Sanga Tamizh…’” The famous grandma is thrilled that the tiny tot is also joining her on stage.
Vyjayanthimala is presenting ‘Sri Andal’s Sanga Tamizh Maalai’ at Bharat Kalachar, Chennai, tomorrow (December 23), 6.45 p.m.
Classic
Several of Vyjayanthimala’s dance sequences in films are timeless. As a heroine who ushered in classical dance in Hindi cinema, did she choose roles that offered such scope? “I was a minor when I entered films with AVM’s ‘Vaazhkai’ (‘Life’). It was my father and grandmother who selected the scripts. ‘Bahaar’ my first Hindi film, made me an all-India star overnight!”
None can forget her footwork in films. “Yeah, the classicism and dignity in my style appealed to Hindi audiences.” Very appropriately the North referred to her as ‘Twinkle Toes.’ Between the two evergreen dance sequences, ‘Vanji Kottai Vaaliban’ with Padmini and the competition number in ‘Amrapali,’ which is her favourite? She laughs, “Honestly both. Padmini was a superb dancer. Neither could out-dance the other. That was why Gemini Ganesan had to switch off the chandelier, remember?”
Watch the sequences on YouTube. You’ll be mesmerised
