Torch-bearer of the Balasaraswati style of Bharatanatyam, Sanskrit litterateur and dramatist, trained Carnatic musician, writer on classical dance these are but a few dimensions of Nandini Ramani’s multi-faceted personality. Held in high regard not only for her deep knowledge of the art but also for her forthright views on natyam, she has been conferred the Natya Kalaisikhamani title by The Indian Fine Arts Society early this week. In a talk with this writer, she shared her views on the art and her experience as a learner and propagator. Excerpts:
What do you cherish most about your training with Balasaraswati?
Like her guru Kandappa, Balasaraswati firmly believed in abiding by the pristine aspects of her chosen tradition. A significant feature of the style is an equal emphasis on nritta and abhinaya, where the first three or four years are spent in rigorous training. Under Bala’s watchful eyes, I learnt pure dance under K. Ganesan, eminent teacher for nritta, only son of Kandappa, and a tough master and a genius.
Abhinaya teaching came later, when the student was found thorough in nritta with mind–body synchronisation. Working with the legend was a formidable proposition; it was a complete union of word, sound and imagery so much so that I would gaze upon Bala as she stood before me, in great wonder and admiration each time. The rhythmical gait of the song, the musicality of the composition, and the unique touch of her interpretation flowed unhurried with an innate beauty of hand gestures. Through my long association with the Queen of Abhinaya, I first absorbed the finer points without any conscious effort and as I grew older, the nuances blossomed with fresh meaning.
My father Dr.V. Raghavan was a great admirer of Kandappa’s scholarly technique and the fine skill of Bala from early Thirties onwards. Later as Secretary of Madras Music Academy, my father played a vital role in establishing the T. Balasaraswati’s Classical Bharatanatyam School in its campus.
The school functioned first with my elder sister Priyamavada, prime student of Bala, and was officially established in 1953. I joined the school in 1955 and stayed with Bala and Ganesan till her demise in 1984 after which the school closed down. I was a stand-by teacher at this school for a decade when Bala toured abroad extensively for her performances and teaching programmes.
How would describe your training in Carnatic music?
The training was intense under Prof. B. Krishnamoorthy, a scholarly musician. I learnt about 350 songs from him of different composers predominantly those of Muthuswami Dikshitar. I also learnt compositions of Dikshitar from Mahadeva Bhagavatar of the Kallidaikurichi lineage. Bala herself taught me padams and javalis and I had the fortune of specialising further with T. Mukta for a decade. Such training in vocal music enhanced my understanding of the special musical elements of the Bala technique in nritta and abhinaya.
About Samskrita Ranga and your role in publishing works in Sanskrit?
The Samskrita Ranga founded by my father in 1959, has been relentless in the dissemination and preservation of the language and authentic Sanskrit drama. This is a unique organisation in South India, probably one of its kind. I was roped into stage acting, just as my other siblings were, by my father both on stage and for AIR.
In the past 25 years, I have been directing the plays with a dedicated team of young actors, many of whom are Sanskrit teachers, while some are dancers and musicians. I have also incorporated some suitable dance techniques in line with sage Bharata’s concept in creating total theatre. Apart from an annual production and a journal, our team is regularly invited to perform at prestigious venues.
At the Dr.V. Raghavan Center for Performing Arts, registered formally in 1998, I have been publishing several works of my father, some of which are original manuscripts, while some others are compilations, updated editions, reprints, and so on. The centre has an invaluable collection of books and written works of archival material.
Your experiences as art critic and writer?
My association with The Hindu for 15 years as its Resident Dance Correspondent opened up a new avenue for me. The encouragement and support I received from the management made me look at the art with a new perspective. Of course, ethics prevented me from performing during this long tenure but I enjoyed the experience.
I was associated with the Chennai Doordarshan Kendra as compere and scriptwriter from 1975 to 1993. Since 2011, I have been Senior Associate Editor for Sruti magazine.
About your recent endeavours?
The positions I have held in some of the prominent cultural bodies gave me the opportunity to help, guide and throw light on a number of artists, young and old from many sampradayas and schools.
Do you think the outlook to Bharatanatyam has changed?
Well, the boundaries are expanding, thanks to some extremely talented young dancers. They are adventurous and exploring. Such experiments appeal to me as long as they are aesthetic and not mere gimmicks. Young aspirants should understand that patience and hard work are absolutely essential for development.
