02 02 2018 Thrissur newFR RAMANARAYANANSANKARANARAYANAN 1802231044

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com -
Kochi • kerala EDITION • FEBRUARY 2, 2018
www.thehindu.com
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https://www.twitter.com/The Hindu
INSIDE
Multifaceted
virtuoso
Kalamandalam
Geethanandan gave
Thullal pride of place
in the cultural
scenario Page 2
Exploring
new avenues
Sathvikaa Shankar
deftly balances time
#4 1 0 8 6
as an arts company
artiste and a solo
performer Page 5
Metal
Mania
Balan Nambiar’s steel

and bronze artworks
get a month-long
retrospective in
Bangalore Page 10
An evergreen
voice in verse
Mission melody
Pandit Hariprasad Chaurasia is on a mission to popularise the music Poet Sugathakumari,
of the bansuri across the globe Pages 6&7 who recently turned
84, has been at the
forefront of many a
cause Page 11
41086
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2 TRIBUTE KOCHI
FRIDAY, FEBRUARY 2, 2018

FRIDAYREVIEW
CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC
V. Kaladharan
DDDDDDDDDDDDD
I
t was in the early 1980s. A small group of
devotees had assembled at the courtyard
of a temple in the remote rural area of Val
luvanad soon after the deeparadhana. Within
Gifted
a few minutes, a young artiste appeared be
fore them. He recited the Mangala slokam,
Kumbheendranpole Vakthram, along with the
performer
background vocalist and straightaway pro
T
hullal, a semistylised solo
ceeded to a dramatic excerpt from the re
dancetheatre tradition, came
nowned play Kalyanasaugandhikam, the rst
into being in the 18h century
composition of Kunchan Nambiar. As he be
thanks to the innovative endeavour
gan unfolding the encounter between Bhima
of poet and humourist Kalakkath
and Hanuman at the celestial garden of Kada
Kunchan Nambiar. Thullal
leevanam, through dance, music and mime,
underwent tremendous
the size of the audience grew. He mesmerised
transformations through the
them with his act. The artiste was none other
centuries. Once it was added to the
than Kesava Geethanandan, then a senior stu
curriculum of Kerala Kalamandalam
dent at Kerala Kalamandalam. In less than a
in the early 1940s, the kalari
decade, Kalamandalam Geethanandan esta
training of Thullal got systematised.
blished himself as a soughtafter artiste in the
Kalamandalam School of Thullal
eld of Thullal. His unexpected demise, that
adheres to the rened style
too on stage in full makeup and costume,
established by the genius, Malabar
cast a pall of gloom on the scene.
Raman Nair. In the latter half of the
last century, Geethanandan took up
Family of artistes
SPECIAL ARRANGEMENT
the task of promoting and
Like most of those associated with traditional
popularising the ‘tradition’ by
arts, Geethanandan had a povertystricken
giving it a distinctively
childhood. The templecaste family he be
individualistic style.
longed to was deeply involved in performing
Born on April 15, 1961 at
arts, especially Thullal. Geethanandan,
Kothachira village of Palakkad
hence, had an early exposure to the art form.
*
district as the son of Kesavan
Yet his father, himself a noted Thullal artiste,
Nambeesan and Savithri Brahmani
was against his son taking up this solo dance
Amma, Geethanandan inherited his
Multifaceted virtuoso
theatrenarrative as a means of livelihood.
talent for Thullal from his father, a
But destiny willed otherwise.
wellknown artiste in Valluvanad.
Geethanandan enrolled as a student of Ker
Geethanandan began learning the
ala Kalamandalam and received intense tutel
art from his father. He had his debut
age under Kalamandalam Divakaran Nair in
at the age of nine. In 1974, he joined
the 1970s. With his air for music, dance, and
acting, the boy could grasp the nuances of all
All his life Kalamandalam #4 1 0 8 6
Kerala Kalamandalam for a diploma
the plays he learnt over a period of four years Geethanandan had been on course in Thullal.
Geethanandan underwent
and subsequently for two years with a scho a lonely crusade to retrieve rigorous training in Thullal under
larship from the Ministry of Culture, Govern
ment of India. the glory of Thullal. In his Guru Kalamandalalm Divakaran
Nair. As a member of the
Geethanandan’s tall frame and light co passing, Thullal has Kalamandalam Thullal Troupe and
loured eyes did not conform to the conven
tional image of a Thullal artiste. But his ap lost a dedicated individually Geethanandan got
countless opportunities to perform
pearance on stage and crystal clear exponent and guru both Ottan Thullal and Seethankan
articulation could instantly steal the hearts of
Thullal.
even diehard conservatives. Geethanandan
Geethanandan was
was fortunate to be appointed as instructor of His each and every movement and expres
appointed instructor of
Thullal at his alma mater soon after comple sion was embedded to rhythm and hence the
Thullal in 1984.
tion of his studies with distinction. By then he impact he created on the spectators was
He became
had risen to stardom in the eld, a distinction simply astounding. Infectious was his energy
the leading
enjoyed exclusively by his distant predeces on stage and initiated viewers fuelled his pas
Thullal artiste of the
sor — Malabar Raman Nair during his life sion and involvement. Geethanandan’s fond
Kalamandalam troupe which
time. Geethanandan was quick to realise that ness for lokadharmi (realism) and over dra
toured far and near for
the space for Thullal had started shrinking matisation did attract criticism from the
performances every year.
day by day in a fast changing cultural climate. cognoscenti over the years. He was not aect
Simultaneously he started grooming
He thus decided to redraw the contours of ed by that as he had tremendous faith in his
skilled students in Thullal for the
Thullal by eecting renements in the four admirers spread over India and in the Gulf
district and Statelevel school
fold concept of its acting — angika, vachika, countries. Kalamandalam Geethanandan was a
youth festivals.
aharya and satwika. The expansive canvas of versatile artiste who enlarged the breadth
Geethanandan also began
Kathakali was an enduring inspiration for Multiple talents and scope of Thullal; (above) a Thullal
recital; (below) during a Thullalpada concert conducting programmes in the Gulf
Geethanandan. Thullal is a demanding art form as it insists on
countries with a sizeable Malayali
Gestures and range of expressions of Thul the performer singing, dancing and acting si
population. Wherever he travelled,
lal grew as he ventured to introduce a broad multaneously. Rarely do all these qualities text he was performing on stage. This, in fact,
he not only did Thullal recitals but
form of padarthabhinaya (handgesture and converge in an artiste. Geethanandan was could illuminate numerous characters such
also trained students. He has more
expression for each and every word in the one in whom diverse faculties synthesised in as Hanuman, Garuda, Krishna, Kiratha and
than 850 disciples. Geethanandan
verse) in its otherwise skeletal framework. ample measure. With an unfailing musical so on. O stage too, Geethanandan was witty
was the major attraction of the
Characters became vivid and emotionally vi sensibility, he composed a Thullalpada kutch- and his humorous comments about his fellow
Thullal troupe of Kalamandalam
brant as Geethanandan improvised the im eri almost akin to that of a Kathakali pada- artists and others carried more than an iota
that toured France nearly two
ports of many a word in each line. In addition kutcheri. From an insignicant ritual held of truth.
decades ago.
to Saugandhikam, Santhanagopalam, Kirath- around noon as part of temple festivals, Being an incredibly gifted artiste, Geetha
After 33 years of service as
am and Garudagarvabhangam gained im Geethanandan successfully got Thullal shift nandan always longed to be visible on and o
artisteteacher at Kalamandalam, he
mense appreciation as and when he ex ed to primetime in all the temples and cultu stage. He wanted the public at large to look at
retired on March 31, 2017.
pounded those on stage. With Kalamandalam ral venues he was invited to perform. Geetha him and listen to him as an artiste whose con
Geethanandan was honoured
Gopinatha Prabha as vocalist, the padams of nandan also acted in a few lms. stituency was seldom conned to Thullal.
with Kerala Sangeetha Nataka
Thullal got rendered emotively in various ra Sarcasm and satire form the soul of Thullal In the cultural history of Kerala, Geetha
Academy Award (2002), Kunchan
gas that beautifully blended with the stylistics literature. Unfortunately, most of the per nandan will long be remembered as a path
Nambiar Thullal Puraskaram
of Geethanandan. formers of the day are not endowed with breaker who pushed the boundaries of Thul
(2003), Kerala Kalamandalam
As a dancer, Geethanandan had an inclina these assets. Geethanandan was exceptional lal to enhance its stature and popularity in a
Award (2009) and Kunchan Award,
tion towards thishra, mishra and khanda na- as he had an innate sense of humour and society that was slowly getting disconnected
Government of Kerala (2002).
tas prompted by the text and the contexts. could improvise in accordance with the con from its roots.
41086
FRIDAYREVIEW
KOCHI
REVIEW 3
Tales from
the epics
Experienced artistes
enriched a Kathakali festival
organised in
Thiruvananthapuram in
connection with the
Nishagandhi festival
JAWAHARJI K.
V.R. PRABODHACHANDRAN NAYAR
DDDDDDDDDDDDD
A
Kathakali fete organised along with the
annual Nishagandhi Dance Festival in
*
Thiruvananthapuram included an inter
esting recital of Rugmamgadacharitham with and Nala on two successive days clearly Power-packed acts (Clockwise from left) A
evergreen hero Kalamandalam Gopi and his brought out the dierences in delineating sev scene showing the game of dice in
favorite coactor Margi Vijayakumar donning eral stages of love and separation. Shanmugh Duryodhanavadham; Kalamandalam Pradeep
the lead roles. an’s picturesque presentation of the swan’s as Keechaka and Kalamandalam
Select scenes of the rst and third days of ight — take o, ying away and nally disap Balasubrahmanyan as Bahuka
Nalacharitham were staged on two evenings pearing in the sky as a thin golden thread
with Kottakkal Chandrasekhara Warrier and proved superb as it synchronised with the ac
Kalamandalam Balasubrahmanyan present tor’s exit too leaving in the minds of the au
ing Nala and Bahuka. Both the performances dience, golden strips of memories of his ster
were outstanding. ling performance. Damayanthi’s companions,
For those rasikas fond of characters in the essayed by Kalamandalam Jishnu Ravi and Ka
kathi makeup, Banayudham, an avowedly lamandalam Arun, contributed signicantly
southern Kerala favourite, Duryodhanavad- to intensify the heroine’s pangs of love
ham and Keechakavadham, southern in their through appropriate reference to objects in
place of origin only, were enacted with Mada the vicinity.
voor Vasudevan Nair, Kalamandalam Krishna
kumar and Kalamandalam Pradeep enacting Enthralling presentation #4 1 0 8 6
the principal roles. Peesappilli Rajeevan’s ‘white’ Nala did full jus
For fans of red beard characters, Balivad- tice even to the suggestive meanings and sub
ham was enacted with Kalamandalam Hari R. tle nuances of Unnayi’s exquisite play text.
Nair and Kalamandalam Neeraj donning Bali What followed was Kalamandalam Balasu
and Sugreeva respectively. Kalamandalam Ba brahmanyan’s enchanting delineation of the
lakrishnan’s vibrant delineation of the charac miserable plight of ‘black’ Nala or Bahuka. His
ter Dussasana too showcased the red beard visualisation of the padams Vijane batha and
characters potentialities. Mariman kanni, rendered to melliuous mus
ic by Kalamandalam Ram Mohan was
Women in focus enthralling.
Following Margi Vijayakumar who brought to Kalamandalam Krishnakumar and Kala
light the multifaceted character Mohini, other mandalam Balakrishnan playing the roles of
lead roles among female characters were Duryodhana and Dussasana lled the stage.
made memorable by Kalamandalam Shan Their pompous entry into Dharmaputra’s
mughan as Damayanthi on the rst day of Na- court and their confusion between the gem
lacharitham, Kalamandalam Rajasekharan as studded sparkling oor and pool of clear wa
Chithralekha, Oyur Ramachandran as Drau ter was elaborately enacted, embellishing al
padi and Ranjini Suresh as Sairandhri. most every moment with humour. Mayyana
The Swan (Hamsam), Damayanthi’s compa du Rajeevan’s portrayal maintained Krishna’s
nions, Karkotaka, Rithuparna, Su pleasant but dignied demeanour. Manifesta
deva, Damayanthi in the third tion of his cosmic form, however, would
day of Nalacharitham, Seetha, have been more appropriate had he ta
Usha, Sudeshna and Valala ken his position on the stool.
have crucial roles to play in In Keechakavadham, Sairandhri,
the episodes in question. donned by Ranjini Suresh, was about
Adept players like Mathur to adorn her exuberant hair with a
Govindan Kutti and Margi beautiful ower. Remembering that it
Suresh injected liveliness remained untied as per her apocalyp
into the context, while hand tic vow, she threw it away. Kalamanda
ing those roles, although they lam Pradeep, essaying Keechaka and
don’t involve characters count posing himself as the handsome god of
ed as major. Suresh’s Thiranot love shot a ower on Sairandhri’s
tam as Karkotaka, the serpent, right cheek and presented a basket
was outstanding on account full of owers at her feet, produc
of his excellent makeup ing repugnance on her
and serpentine part.
movements. Both the artists de
The veterans’ serve bouquets for this
dexterous treat imaginative innova
ment of the ro tion, introduced, appa
mance in the rently for the rst time on
episodes of the Kathakali stage.
Rug The fete was organ
mam ised by the Depart
gada ment of Tourism.
41086
4 VOICEOVER KOCHI

FRIDAYREVIEW
This Thing Called Culture
By our ballet critic!

Why were Indian dance dramas referred to as ballets?
Ashish Mohan Khokar
DDDDDDDDDDDDD
Imagine, 50 years ago,
dance critics were
called ballet critics,
when they wrote re
views. How and why
did this reference come
The Piano Man Padma about?
awardees It was in 1830 that the rst ‘bal
of 2017 let’ on an Indian theme was done.
What is the after the

investiture
ceremony
Le Dieu et la Bayadere — The God
and the Dancing Girl.
It was choreographed by Filippo
yardstick? Taglioni, father of great ballerina

Marie Taglioni, and rst performed
in Paris in October 1830. Clearly,
the West knew of temple dancing
Why are there few Carnatic musicians girls as the Devadasis were known
then in the West. In 1877, another
among the Padma awardees? ballet on the same theme, La
Bayadere was produced in Russia.
Anil Srinivasan
DDDDDDDDDDDDD
serve treatment as a sepa It was choreographed by iconic bal
rate eld of endeavour? let master Marius Petipa and was
It is 1 a.m. and I This year we have seen rst time performed in the famous
am still at a stu one of our greatest lm Maryinsk Theatre in St. Petersburg.
dio. As a per composers, who came up The pivotal role in La Bayadere
former, compos the hard way, get Padma was undertaken by Marie Taglioni
er and player for Vibhushan. We have seen a and later by Anna Pavlova. The second ‘Indian ballet’ to be Their success helped many reach
‘sessions’ (play research scholar (Vijaya So what is ballet as an art form? produced in the West was Lalla out. Ananda Shivram to Australia
ing for others’ composi lakshmi Navaneethakrish If Indian dance is known today un Rookh, also called the ‘Rose of La with Louise Lightfoot. Guru Gopi
tions), my life and times are nan), who has devoted her iversally it is due to this format that
#4 1 0 8 6 hore’. It was inspired by Thomas nath with Ragini Devi to the U.S.
suciently crazy. In bet life to folk music get a Pad was widely popularised by the Moore's oriental romance of the Madame Menaka from Bombay to
ween these are intervals ma Sri. West in the last few centuries. Bal former name and rst produced in Berlin. Sadhana Bose in 1941 creat
where I have to answer sev And yet there seems little let is a group classical dance with London in 1846. Its choreography ed Bhookh on the Bengal famine.
eral existential questions. reection on the fact that music, no dialogue, major scenog was by Jules Perrot. Then in 1858 1n 1944, Zohra and Kameshwar Se
To Aadhaar or not. To GST all of these t into the raphy and choreography. These came Kalidas’ Shakuntala. This gal produced Reptile, a work on the
or not. To respond to com broader spectrum simply are four important and dierent in was based on the book by Theo divideandrule policy of the Brit
ments on my newly called ‘music.’ What is gredients. Add, Indian democratic phile Gautier and choreographed ish. At about the same time of na
launched television show. more, the awardees are in way of doing things: a sutradhar or by Lucien Petipa, brother of the fa tional upsurge came in 1942, the In
To eat. And unfortunately dividuals, who not merely a counter point. mous Marius Petipa. This was pre dian People’s Theatre Association
in that order. performed, but have contri Classical dancing pushed to the miered in Paris. So one sees major or IPTA. And IRA (Indian Renais
Indeed, I am left ponder buted signicantly to the back under a long colonial rule, destinations — Paris, London, Mos sance Artists). Together they creat
ing if there is any silence vocabulary, grammar and had a revival through mythological cow — taking to themes Indian even ed many outstanding ballet works.
left. Opening my phone ne promulgation of their cho and historical productions all before India had. These included The Spirit of India,
cessarily means being hit sen musical styles. And im through the last century. How best India Immortal and The Discovery
by a barrage of opinions, pacted millions of others to use our classical forms in group Indian dance aesthetics of India.
views disguised as facts and through their oeuvre. art form was inbuilt in Kathakali In 1899 came Talisman and its ori All these ballets were in Uday
an endless eddy of minu Why do classical musi and Yakshagana traditions but both ginal story included Akbar, the Shankar style. Only Ram Gopal
tiae. And it's no use asking cians expect exclusive clas Uday had dialogue. To use Kathak or King of Delhi; Damayanti, the used mostly Bharatanatyam and
us to turn our phones or sication and treatment? Is Shankar’s Bharatanatyam in a story line, li King’s daughter; Noureddin, the Madame Menaka, Kathak. It must
applications o. We would it a privilege that one is en works were near or otherwise, was a challenge Maharaja of Lahore, and Amravati, be pointed out that slowly Indians
unfortunately lose vital titled to or are there larger popular in for traditional masters or nattuvu goddess of Heavenly Spirits! The deviated from the original and
links to practical livelihood. questions that one needs to the West. nars. cultural mish mash was complete created their own genre, Operatic
One question that address? Seen here This ballet format also helped es with total disregard to real history. ballets, Madame Menaka the exam
popped up in my newsfeed For instance, how can with George chew strictly classical structure Talisman was followed by Schehe- ple. Songs were rendered by sin
intrigued me. Why are contribution be measured? Harrison and and language and helped go razade, based on a tale in Thou gers or dancers themselves (this
there not more Carnatic Arguably not everyone con (below) at a beyond the routine stories of kings sand and One Nights. It was rst was never the case with and in
performance
musicians in this year’s tributes to social condition and gods; saints and sinners. Ballet produced in Paris of 1910 and cho western ballet) and scenography
Padma awards? Indeed. or justice nor has to. But could depict hidden themes of reographed by Michel Fokine, mus was done away with. Rukmini Devi
Amidst an eightmonth in surely artistic contribution hunger and greed; hu ic by RimskyKorsakov and decor followed this at Kalakshetra with
fant that got brutally raped should be more than just a mans and by Leon Bakst. The scenography many productions and soon ballet
in the nation’s capital and busy calendar of perfor even animals. separated ballet from Indian classi became dancedrama. Which is
the row over Padmaavat mances or research papers. What appel cal dance aesthetics, which is high what Kathakali, Kuchipudi, Melam
and Andaal, this year’s civi What about signicant ad lation would suit this on the art of suggestivity. traditions were anyway to begin
lian honours did not seem ditions to the art itself — its form? ‘Oriental Dance’ no In western ballet, direct depic with.
to create the same buzz as practice, its repertoire, its longer had the same connota tion of a scene, with elaborate sets, After Independence, the word
they usually do. very scope? tion. Modern dance it was not became its hallmark. Sets by mas ‘ballet’ became so popular that
A deeper reection on So I leave you with this because in structure and sub ters like Sergei Diaghilev nd men dancers named their groups after
this made me realise the in question. What should the stance its base was still classical. tion in later works of Indian pio it: Shanti and Gul Bardhan's Little
herent entitlement sur criteria be to bestow na Ballet was generic and gener neers like Ram Gopal. Ballet Troupe (Gwalior then Bho
rounding this question. tional honours upon an al. Besides, it was a popu What Ram and Uday Shankar pal); Sachin Shankar Ballet Unit
Other than the fact that artiste? lar word worldwide. So did 1930s onwards were ballets. (Bombay). And so it goes.
there are veterans in the it stuck. From The content was Indian. The aes
eld who are actually being 1930s to 1980s thetics were western. Remember,
honoured (the Rudrapat The writer is a well known pianist the word has they were catering mostly to Euro The writer, a critic and historian, is the
nam brothers), why does and music educator based in been used liber pean audiences and once success author of several books and edits
Carnatic music alone de Chennai ally. ful there, were celebrated in India. attenDance, a yearbook
41086
FRIDAYREVIEW
KOCHI
VOICEOVER 5
Rising Star Raag Taal Gharana
The patriarch of
Patiala gharana
Bade Ghulam Ali Khan’s impeccable gayaki set a glorious
musical tradition
Jyoti Nair
DDDDDDDDDDDDD
T
he Patiala Kasoor Gharana’s
glory can be ascribed to Bade
Ghulam Ali Khan Sahib,
whose musical genius came to re
present a style characterised by in
tense emotional expressions, with
romance striking a dominant note.
Exploring As a result of his training under his
father, Ali Baksh Kasoorwale, and
uncle Kale Khan, who learnt dhru
new avenues pad from Behram khan of Jaipur,

khayal from Mubarak Ali of Jaipur,
Tanras Khan of Delhi and Haddu
khan of Gwalior, his variegated le
Sathvikaa Shankar enjoys being an gacy made Bade Ghulam Ali Khan
Apsaras Arts company artiste and a solo the undisputed voice. Even three
decades after his death, the ghara
performer na is identied with him. Bade
Ghulam Ali Khan Sahib, who began
Lavanya Narayanan
DDDDDDDDDDDDD
culine roles, exploring a new his illustrious journey as a sarangi
array of body language that artiste, was known for his eortless
S
he has been away from gave Sathvikaa a peek into rendition, clear enunciation and a
her new Singaporean her guru’s vision as a range spanning three octaves. The
home for over a month dramatist. thumri ang of Benares, evolving as
#4 1 0 8 6
now. The Margazhi frenzy in As Sathvikaa continued to it did as a Punjabi ang, and the tap

Chennai may have died perform, she pursued com pa gamaks of Gwalior came
down, but Sathvikaa Shan merce and eventually, com through beautifully in his khayals.
kar’s season is just beginning. pleted chartered Today the gharana bears the
She has spent the last few accountancy. stamp of his gayaki. His legacy was
weeks in guru Anita Guha’s “The balance was enjoya carried forward by his son Muna
home, preparing for her up ble. Rehearsals would break war Ali Khan, whose gayaki was in four gharanas — Agra, Jaipur, Kira and bolbants exhibit the tempre
coming solos, even while par the monotony of studying uenced more by his uncle Barkat na and Gwalior. The transcenden ment of a painter. Each phrase is
ticipating in the group pro and reenergise when exams Ali Khan. Bade Ghulam Ali Khan tal and extensive expansion of the rendered like colouring a picture —
ductions that her guru is came,” she recalls. would refer to Barkat as “the magi swaras in alap was something di vivid with imagery. There are cer
known for. She says that it It’s a balance that Sathvi cian of thumri”, though he himself vine in his gayaki. He further aug tain features of this gharana that
feels exactly like it always has kaa no longer needs to strike. was the last word in it. mented it with meru khand taans surface suddenly. Taans and bol
over the last 19 years, ever Now a fulltime company Munawar’s son Raza Ali Khan of Kirana, two swar danas of Jaipur taans can intersperse the bandish,
since she began training un dancer with Singapore’s Ap alongwith Mazhar Ali Khan and Ja and voice structure and voice There is an element of
der Anita Guha. saras Arts, she is a part of to a wad Ali Khan, the grandsons of Ka akaar of Agra and Gwalior. unpredictability.
“I jumped at the rst group of dancers that works ramat Ali Khan, the brother of This point is also endorsed by
chance of learning from her,” to merge dierent styles in Bade Ghulam Ali Khan Sahib, who Temperament of a painter Sandeep Bagchi in the Nad – Under-
Sathvikaa reminisces. All of largescale productions, per migrated to Pakistan, kept the fa Apart from the openness of the standing Raga Music, “the unex
six years old, she found a se formed almost every mily tradition alive. Fateh Ali, voice, the sargams are rendered pected notecombinations ap
cond family in her class weekend. grandson of Ali Baksh, is a Patiala aesthetically. Akaars, bol banaavs peared to have been put in for
mates, a group of young dan “It’s amazing to see that gharana singer settled in Pakistan eects sake, as they were not fun
cers who continue to perform each dancer’s style has its “whose voice has the richness and damental to the raga.
together till date. own beauty. We just respond the melliuousness of the foun Adds Shantanu, “they play to
Discovering the art

She spent the next six years
to each other on stage. Often,
the result is magical,” she
smiles.
der”, according to Sandeep Bagchi
(Nad – Understanding Raga Music).
Another bold and beautiful singer
<
> the rhythm and with the rhythm.
The subdivision of rhythm — the
matras and minimatras are recog
discovering the art form, of The shift, Sathvikaa says, of this gharana is Begum Parveen Today’s Patiala gayaki nised. There is an interplay bet
ten juggling school with re has been a smooth one, attri Sultana. is unmistakably the ween rhythm and melody — inva
hearsals for nritya natakams. buting it completely to the “Today’s Patiala gayaki is unmis riably, an imagery is created. The
Essaying diverse roles, the ex training methodology of her takably the Patiala Kasoor gayaki
Patiala Kasur gayaki tabla bols set the pace, the bandish
perience held Sathvikaa in guru. “She has trained us to passed on to artistes through the passed on to the is presented on the tone set by the
good stead, preparing her not be versatile by making us per gandabandh disciples of Bade tabla.”
only for her arangetram at form dierent roles over the Ghulam Ali Khan Sahib, such as
artistes of today The singers show a penchant for
age 12, but also receiving the years.” Pandit Prasun Banerjee and Vi through the direct pentatonic ragas like Malkauns
Bala Shri award through Now, Sathvikaa’s style has dushi Meera Banerjee,” says Pt. Bhupali and Gunkali. The other ra
PSBB Nungambakkam at age become a blend of her guru’s Shantanu Bhattacharyya, a well
disciples of Bade gas popular with the gharana sin
13. It was the rst time the Kalakshetra pattern and her known vocalist of the gharana. Ghulam Ali Khan gers are Darbari Kanhra, Ramkali,
award was conferred upon a understanding of bhava. And Pt. Ajoy Chakrabarty, a stalwart Shuddha Kalyan and Bageshree.
dancer from Chennai. Apsaras has added another of the gharana trained under Mu
Sahib, such as Pandit Some of the upandcoming sin
“I began to take my art se dimension to her art. nawar Ali Khan and Pt. Jnan Pra Prasun Banerjee and gers of the gharana and disciples of
riously; improving my tech “It’s such a joy to be in kash Ghosh. His daughter Kaushiki Pt. Ajoy Chakrabarty and Shantanu
nique by imbibing the ner Chennai. This is where it all has emerged as a ne singer too.
Vidushi Meera Bhattacharyya are Mira Sengupta,
aspects,” she says. While so began and this is where I real Elaborating on the legacy, Pt. Banerjee Brajeshwar Mukherjee, Deborshee
los enhanced Sathvikaa’s ised art is my calling,” she Shantanu Bhattacharayya brought Bhattacharya, Durba Bhattach
margam skills, the dance dra says before rushing to anoth to light how Bade Ghulam Ali Khan
— Pt. Shantanu aryya, Arghya Chakravorty, Iman
mas had her portraying mas er session of rehearsal. Sahib’s gayaki is the synthesis of Bhattacharyya das and Mitra Bhattacharyya.
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KI-X
6|7 COVER STORY KOCHI

FRIDAYREVIEW
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Music trail
B Two biographies on Hariprasad
Chaurasia have been published,
Romance of the Bamboo Reed by
Uma Vasudev and the ‘authorised’
biography, Woodwinds of Change by
Surjit Singh. His life and career is the
subject of the documentary lm,
Bansuri Guru, directed by his son
Rajiv Chaurasia and produced by
Films Division.
B Apart from the two Vrindaban
Gurukuls, Chaurasia serves as the
Artistic Director of the World Music
Department at the Rotterdam Music
Conservatory in the Netherlands.
B In 1967, Chaurasia teamed up with
Portrait of a
Pandit Shivkumar Sharma and Brij
Bhushan Kabra to produce the
recordbreaking album ‘Call of the
Valley’.
B Chaurasia played for the song The
FLAUTIST
Inner Light that was featured on one
side of the Beatles single, Lady
Madonna, written by George
Harrison.
B When Ilayaraja created his nonlm
album ‘Nothing But Wind’, he had
Chaurasia play the North Indian ute
part.
Pandit Hariprasad Chaurasia, who turns 80 in
(COVER) RANJEET KUMAR; THULASI KAKKAT

B With Shivkumar Sharma he formed July, says his sole ambition is to popularise the
the music team ShivHari. They
composed music for numerous
music of the ute
albums and Bollywood lms such as
Chandni, Darr, Lamhe, Silsila, Faasle,
Vijay and Sahibaan.
B Chaurasia, along with Shivkumar
Sharma, were the rst Indians to
perform at the Nobel Peace Prize
Concert in Oslo in 1998. He was
#4 1 0 8 6
invited by Prince Charles to perform
*
in London with John McLaughlin.
Romancing the reed Pandit Hariprasad Chaurasia
B Queen Juliana of the Netherlands was
an ardent fan of his music.
K. Pradeep great autist and was responsible for sake that he did not marry again when That training has given me the con
B He is the rst Indian soloist to DDDDDDDDDDDDD
transforming the bansuri from a folk in he lost his wife. I assured him that I dence, the spirit to explore.”
perform at the Bolshoi Theatre in
P
andit Hariprasad Chaurasia, who strument to one that could be used in
Moscow and his playing caused would return soon. But that was not to Over the decades, Chaurasia has
turns 80 this July, kicked o the classical music. He improved the struc
‘appreciative riots’ in the Theatre be.” performed with musicians from as di
Odeon in Paris.
year with backtoback concerts ture of the bansuri in a manner that verse backgrounds as jazz, classical or
with hardly a break in between. Spend one could play serious ragas on it. But
Chaurasia has scored the background Turning point other musical anchors such as Gregor
B
ing hours in a car, on ights, living out it took so much time for him to make it
score for G. Aravindan’s Malayalam Chaurasia was transferred to then ian chant. He must, in all probability,
of suitcases, late evening concerts, ear happen, so much struggle. He worked
lm Pokkuveyil (1982). Bombay, which proved to be the turn be the one who has recorded the lar
ly mornings.... it has been a constant in lms to earn money and as a com ing point in his life. “I was forcibly gest number of music albums among
B Among the numerous awards and struggle. But this lifestyle does not poser in All India Radio. I have listened transferred. In Cuttack, I had made a Indian musicians. “It has been my good
recognitions Chaurasia has received seem to wear out the maestro. to him so many times. He was simply reputation, was getting concerts, play fortune to have been able to associate
are Padma Bhushan (1992), Konark “This has become a routine of sorts. amazing.”
Samman (1992), Padma Vibhushan ing for Odissi dancers and all that. But with so many great musicians. They
Moreover, it is a struggle that I relish. Pannalal Ghosh’s mission was conti
(2000), Ocier in de van Oranje this was looked down upon by the ad seemed to enjoy my music and were
For, after all, it has been that way for nued by Chaurasia, who has played a
NassauNetherlands (2008), Ordres ministration, perhaps, jealous of my gracious to ask me to join them. I have
the past 65 years,” says Chaurasia rath huge role in popularising the instru
des Arts et LettresFrance (2008), success. Bombay (Mumbai), however, never felt uncomfortable with any
er nonchalantly. He was in Kochi, after ment across the globe.
Honorary Doctorate, IIT Kharagpur changed my fortunes and became my genre. I think it is only a dierence in
(2011), Sangeet Natak Akademi
travelling a gruelling 10 hours from Before choosing the ute, Chaurasia home.” style. It is like speaking dierent lan
Fellowship. Kharagpur, for the Kerala State conven began taking singing lessons from Pan Mumbai proved to be an invaluable guages. For me, there is only one lan
DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD tion of SPIC MACAY, an organisation he dit Rajaram, his neighbour in Allaha training ground for Chaurasia and the guage, the language of music.”
has been associated with right from its bad. He did this secretly, hiding it from start of his rise to fame. “I learned a lot
inception. his father who wanted his son to carry playing in the studios, composing and His enduring dream
There’s another reason why Chaura the family legacy of wrestling. The rst
<
>
meeting my Guruma Annapurna Devi For decades, Chaurasia has been regal
sia still travels. For him, it is part of a time Chaurasia stood transxed by the ji. It was here that I met Shivkumar ing alien audiences and connoisseurs
mission that he believes will never end magic of the ute was when he listened Sharma with whom I forged a long with his bamboo ute, with his brand
— popularising the bamboo ute (ban
Today, the ute is a suri). “This is my pooja. The long hours
to Pandit Bholanath on the radio. ical journey.” standing friendship.” of music. Disciples ock to him from
For a short while, Chaurasia worked Annapurna Devi was a sort of re across the globe, which prompted him
major concert of training when I began, the constant Beginning of his musical journey as a stenographer, which made his fath cluse and, at rst, atly refused to be to start two schools, the Vrindaban Gu
travel to small towns to glitzy festivals,
instrument that right to the regular preparation before
“The sound of the ute was so beauti er ‘happy.’ “It was a State government Chaurasia’s guruma. But he refused to rukul, at Mumbai, and Bhubaneshwar.
ful. It transformed the ambience job and it gave me the freedom to pur budge and it took him almost three “It is in the traditional gurushishya
dominates the music a concert is to make the ute sing beau around me. I thought I must go, touch sue my music seriously. I used to nd years to convince her. “She gave me a style. The aim is to recreate the herit
circuit; it has been tifully. I want the ute to be in the lime his feet, and surrender myself to that more time to listen to concerts and new direction to my music. It was com age and tradition that was once alive. I
light. Today, the ute is a major concert music. I took my friend’s bike and learn from my guruji.”
accorded the status of pletely dierent from what I used to nd time to be at the gurukuls. Down
instrument that dominates the music drove to the AIR station, where Panditi When Chaurasia got a job as per play and had heard before. She the years, I have got a lot of love, aec
the other instruments. circuit; it has been accorded the status
of the other instruments. That’s been
ji worked, and waited. When Panditiji formercomposer in AIR, Cuttack, his changed my thinking about music, and tion and respect for my music. This is
came out, I fell at his feet and told him father was devastated. “That’s when he
That’s been my my contribution, and I’m working to why I had come. He needed someone knew of my music. Though he was hap
I switched playing from righthanded
to lefthanded. It was she who taught
the only way I can compensate for all
that. My dream is to keep the music of
contribution, and I’m keep it alive.”
Chaurasia credits Pandit Pannalal
to buy vegetables, grocery and run er py that I was getting a central govern me the complex dhrupad in the tantra- the ute alive through my students. No
rands. He taught me whenever he ment job, he was upset that I had to go
working to keep it Ghosh for developing the bansuri into a found time. This continued for eight to Cuttack. In fact, he asked me why I
kari ang (stylistics of playing stringed
instruments). It was not easy to adapt
one must ever forget the ute and its
music. They might forget Krishna but
alive. classical music instrument. “He was a years. It was the beginning of my mus was leaving him alone, for it was for my to the ute but that was the challenge. not the ute.”
41086
8 REVIEW KOCHI

FRIDAYREVIEW
TIME OUT
Rage
against
injustice
Kottakkal
Nandakumaran Nair’s
Aruna Sairam
Madhuradahanam, a
Music Kathakali adaptation of
Alliance Francaise de Trivandrum Chilappathikaram,
Vyloppilly Samskriti Bhavan,
Thiruvananthapuram which was premiered in
February 7
6.30 pm: ‘Heaven & Earth’, a fusion performance
Shoranur, was interesting Tale of revenge A scene from Madhuradahanam; (below) Kottakkal Nandakumaran
featuring Aruna Sairam and Dominique Vellard in parts Nair as Kannagi
Sri Chembai Memorial Trust Vinu Vasudevan ran Nair himself. Athira came good in the play was rendered by Puralippuram
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Chembai Memorial Hall, Ayodhya Nagar, the role. Kumari V.P. Mansiya performed Lakshmanan Namboodiri and Sreerag
C
Sreevaraham, Thiruvananthapuram hilappathikaram, perhaps the the role of Mathari, an aged woman from Varma. Lakshmanan, a disciple of Ma
February 3 most popular literary work of the whom Kannagi learns about the death of dambi Subramanian Namboodori, ef
6.15 pm: Carnatic vocal duet by Sarga Murali and Sangham age, was written by Elan Kovalan. fortlessly sang the padams in pure Kath
Shilpa Murali govadikal, brother of King Chenguttu The play gets a dierent momentum akali style. Krishnapraveen Poduval and
van. in the nal scene when Kannagi enters Sreehari Killikurussimangalam were on
The Muse Room
The poem narrates the story of Kan the Pandya court with her anklet, the the chenda and Kalamandalam Prasanth
Cobank Towers, Thiruvananthapuram
February 4
nagi and her husband, Madhavan, a rich pair to the anklet she had given Kovalan and Kalamandalam Sudheesh were on
7 pm: Performance by Nikhil J. Menon and the merchant. Madhavan’s ing with Madha to sell. Entering the stage through the the maddalam. The programme was or
band Lazie Bison. Tickets on bookmyshow.com vi, a court dancer, costs him dear and he audience in a dierent costume, she ganised by Jwala, a cultural organisation
loses all his wealth. However, Kannagi confronts the King, curses him and her in Palakkad.
Edappally Sangeetha Sadas stands by her husband and tries to help rage results in a blaze that turns the city
Changampuzha Park, Edappally, Kochi him by giving him her golden anklet to to ash. Nandakumaran Nair’s Kannagi
February 3 sell. A series of events result in Kovalan stormed into that last scene and made it
SPECIAL ARRANGEMENT
#4 1 0 8 6
5 pm: Thyagarajaradhana: Pancharathna being falsely accused of stealing the an a memorable experience. Although the

Keerthana recital klet and he is beheaded on the order of choreography and performance
6.30 pm: Music concert by Cochin Viswanath the Pandyan king of Madurai. Kannagi’s were quite
rage knows no bounds on account of the bland,
Sundara Narayana Music Foundation King’s unjust act and her rage and sor Nanda
Changampuzha Park, Edappally, Kochi row results in a re that burns down the kumaran
*
February 5
city of Madurai. Nair’s
6 pm: Presentation of kritis of Sundara Narayana
Chilappathikaram was adapted into a grand nale
by Vinod Kumar and team
Kathakali play, Madhuradahanam, by was the high
Art Kottakkal Nandakumaran Nair, which light of the play.
was premiered at KVR High School in However, Kanna
Kerala Lalithakala Akademi Shoranur. In 1978, Kodungallur Maruma gi’s transformation
Vyloppilly Samskriti Bhavan, kan Raja had adapted the famous story from a homemaker
Thiruvananthapuram
into the Kathakali format. and bride to a nemesis
Till February 6
could have been more ef
10 am: ‘Strange sounds from above the skies’, an
Poetic lines fective. Moreover, the
exhibition of paintings, drawings and sculpture by
Jiji George Nandakumaran Nair used the lyrics of choreography could
Malayalam poet S. Rameshan Nair but have made space for a ma
Kathakali for certain lines that Nandakumaran nodharmam presentation
Nair himself wrote for the Kathakali in the rst scene when
Kerala Kalamandalam stage. Dividing the story into four Kovalan enters the
Koothambalam, Kerala Kalamandalam,
scenes, the story was performed within kingdom of Madurai.
Cheruthuruthy, Thrissur
February 4
two hours. A 1015minute nar
5 pm: Lavanasuravadham Kathakali Nandakumaran Nair’s adaptation of ration of the city
the play began with a remorselled Ko and its character
Theatre valan going with Kannagi to the market could have en
to sell the anklet. Kalamandalam Pra hanced the expe
Changampuzha Samskarika Kendram mod enacted the ‘pacha’ role of Kovalan rience for the view
Changampuzha Park, Edappally, Kochi
while Kannagi was enacted by two ar ers.
February 7
6.30 pm: Innu, a play presented by Cochin
tistes — Athira Nandan and Nandakuma The music for
Hasanar
Culture
Sree Vadakkunnathan Temple
Sree Vadakkunnathan Temple, Anchuvilakku,
Dance fiesta
Thrissur
February 5 till February 12 ‘Lasyotsavam’ in Thrissur from February 16 to 18 Viraja from Chennai perform Bharata
Music and dance festival. Manipuri (Angabala natyam at 6.30 pm. Kathak recital by
‘L
Irengom and group), Bharatanatyam (Asha asyotsavam’, a dance festival or festival. Kalamandalam Sugandhi inaug Parwati Dutta and group from Auranga
Sharath), Mohiniyattam (Gopika Varma), Kathak ganised by Lasya Akademi in as urates the festival at 6 pm. It will be fol bad is at 7.30 pm.
(Deepa Kartha), Mohiniyattam (Sithara sociation with the Ministry of lowed by Mohiniyattam by Kalamanda On the concluding day, students of
Balakrishnan), Kuchipudi (Prathiksha Kashi), Odissi Culture, Delhi, will be held from Febru lam Sheela Sunil and Odissi by Lasya Akademi present Mohiniyattam
(Uthara Antharjanam) and vocal concert (Sanjay ary 16 to 18 at the Regional Theatre of Bangalorebased Madhulita Mahapatra at 6.30 pm. Reddy Lakshmi’s Kuchipudi
Subramanian) the Kerala Sangeetha Nataka Akademi, and group. recital (7.30 pm) brings the curtain
All programmes start at 7 pm Thrissur. It is the seventh edition of the On February 17, Shyamjit Kiran and down on the festival.
KI-X
41086
KI-X
FRIDAYREVIEW
KOCHI
STATEWIDE 9
Timeless
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Life and times of an ascetic
B Sadhu Kochukunju Upadesi was born in
Edayaranmula in 1883. His parents, Itty and

Mariamma, were devout Christians. His sisters
songs of took charge of raising him when his parents

passed away. He started gospel work at the
age of 17. For almost 40 years, he preached
the Bible all over South India. Upadesi, who
devotion
LIZA GEORGE, SPECIAL ARRANGEMENT

practised and lived the life of an ascetic,
wrote more than 400 hymns, many of them
are printed in worship books across
denominations even today. One of his famous
songs, Dukhathinte Paana Paathram, was
Father John Samuel is on penned when his son, Samuel, died at the
Melodic tribute Father
a mission to keep Sadhu John Samuel; (below)
age of nine. Upadesi passed away on
November 30, 1945.
Kochukunju Upadesi’s a choir practice session DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD
devotional songs alive
*
written several songs but none hold a candle
Liza George
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be preserved.” to Upadesi’s; his songs are a manifestation of
To nd the right voices for his venture, Fath his deep spiritual life and experiences.”
T
here are songs and then, there are Songs; er Samuel held an audition for choir members.
those that stand the test of time. Sadhu “All Christians irrespective of their dierences Tough selection
Sopanam, a musical extravaganza cele in creed use Upadesi’s hymns in their prayers Father Samuel admits that it was tough picking
brating hymns written by Muthampackal Itty and worship books and so we have members songs from amongst Upadesi’s 400odd com
Varughese, better known as Sadhu Kochukun from the Orthodox, Mar Thoma, Believers and positions. He nally decided on a blend of fa
ju Upadesi, saw the venue in the capital city Catholic churches from Thiruvananthapuram, miliar and rarelyheard hymns. Training ses
jampacked. The crowd was a mix of young Adoor and Thiruvalla in our choir. As we were sions for the event, he says, started four
and old, many singing along to Kochukunju short of strength, choir members from Cathol months ago after he completed the orchestra
Upadesi’s hymns, which are still popular, 72 Geethangal continue to provide solace to those icate College, Pathanamthitta were roped in tion of the songs. “I was constantly travelling
years after he passed away. in search of comfort.” too. We have members as young as 12 and as for the choir sessions. Sundays would be in
“It’s hard to say why Kochukunju Upadesi’s Holding a concert in honour of Upadesi has old as 70 in our choir. It is perhaps for the rst Thiruvananthapuram, Tuesdays in Thiruvalla
songs are timeless. It could either be because long been Father Samuel’s dream. So, when time that members from so many dierent de and Fridays in Pathanamthitta. I also had to
the tunes are easy to the ear or that the lyrics Slomo Trust, a Thiruvallabased charitable nominations have gathered for one perfor travel for the meetups with the orchestra
come straight from the heart. I think it’s a ne trust, asked him for suggestions on how best to mance,” says the 44yearold Orthodox members,” says Father Samuel, who has
mix of both,” says Father John Samuel, who launch the formation of their organisation, he priest, an inmate of the Mar Kuriakose done various liturgical works of the Malan
conceptualised and orchestrated Sadhu suggested Sadhu Sopanam. Working on the Orthodox Monastery at Mylapra in kara Orthodox Syrian Church.
Sopanam. concert took almost a year. Pathanamthitta. The 50member Although the programme is over, Father
Father Samuel recalls always being fascinat symphony orchestra is from Kochi, Samuel plans to continue training the choir
ed by Kochukunju Upadesi’s compositions. Soulful songs Kottayam and Mumbai. members. “There are so many more of
“My father used to sing Upadesi’s hymns daily. “Although Upadesi’s songs are rendered in #4 1 0 8 6 Before he started work on Sad Upadesi’s songs to learn and explore.
During my childhood, I was captivated by the most Christian households, some in the youn hu Sopanam, Father Samuel vi However, right now, I plan to give eve
melody of his songs. Although Upadesi was not ger generation are not familiar with his tunes. sited Upadesi’s home in ryone a monthlongbreak; they de
trained in music, his tunes followed the As Gen Now might nd his melodies outdated, Edayaranmula. “I returned serve it as they had trained really
rhythm, metre and forms of various ragas. For I have polished it with a 100member choir ac humbled. Upadesi had led hard. By the way, we received an in
instance, Ente Daivam Swarga Simhasanam, companied by a 50member symphony or an ascetic life. He dressed, vite to perform Sadhu Sopanam in the
which follows Sindhu Bhairavi. The powerful chestra in philharmonic style. Sadhu Sopanam ate and lived in a simple US. That will probably be our next
words behind his tunes hold my attention is my way of keeping Kochukunju Upadesi’s way. He was a man who was concert; our next step in popularising
even now. The hymns in his book Aaswaasa songs alive; his songs are soulful and need to truly devoted to God. I have Upadesi’s songs.”
Triumph of good over evil

They perform according to the music. In
Chau exponent Tarapoda Rajak says the art form now that sense, a good Chau dancer must be able
includes depiction of currrent issues as well to invent and innovate on the stage,” Rajak
claries. Chau used to be taught at homes —
Jaya Narayanan Pisharoty
DDDDDDDDDDDDD
it being a traditional art form, which is still
popular in rural Bengal. A threeyear degree
T
he village maidan resounds with the course on Chau has been started at Sidho
beat of the dhamsa, the roll of the dhol Kanho Birsha University.
and the notes of the shehnai. Wide
eyed children and prayerful grandmothers Spirit of goodwill
watch in hushed awe as Durga Ma enters in “In villages, dancers practise all night, espe
all her nery. Her ‘mukut’ (headgear) glit ‘veera rasa’, or the mood of courage and he cially just before the festive occasions. Dur
K.K. NAJEEB
ters in the spluttering gaslights. She bran roism. The stories are invariably about the ing AprilMay, ‘Chaak Festival’ is conducted

dishes her trident and the demon, ‘Mahish triumph of the virtuous protagonist over the when dances go on all night. Two teams per
asura’, trembles in fear. evil antagonist. Typically, an evening’s pro form in competition. One team rst per
*
The scene is an enactment of the ‘pala’ gramme consists of just one ‘pala’. forms a story and then the next one replies
(episode) of ‘Mahishasuramardini’ in the Stories from the Mahabharata and the Ra with another story. The whole village turns
Dramatic sequences (left) A Chau
Chau dance style. Tarapoda Rajak, one of mayana are popularly chosen for depiction. up to watch and cheer the dancers,” Rajak
performance in Palakkad; Chau dancer
the exponents of this folk art, reminisces Rajak says that nowadays artistes choose says.
Tarapoda Rajak (second from left)
about his childhood when an entire village contemporary topics such as dowry deaths In spite of it being a competition, the spi
used to turn up for such performances. His dominant mood. In Orissa, the dancers do and drug abuse. rit is one of good will and the organisers re
elder brother, Bikal Rajak, a renowned Chau not wear headgear at all. They colour their “In the old days, Chau used to be based ward both the teams. The elaborate cos
dancer, is his guru. “I have been performing faces according to the character they por on ‘mookabhinaya’, that is dance without tumes and headgear add to the air of
for 25 years now,” says the younger Rajak. tray. music. The musical element was introduced mysticism and romance. Animal characters
“Chau”, Rajak says, “is native to [the east later.” too have an important role to play.
ern states] Jharkhand, Orissa and West Ben Dierent styles of Chau The percussion instruments are dhol and Rajak looks forward to a time when more
gal. The three styles are respectively from “In the Purulia style, which I follow, the dan dhamsa, and the shehnai is also used. Nowa youngsterstake up the art form and nurture
Seraikela, Mayurbhanj and Purulia.” Rajak cers wear an elaborate crown, which is the days, electronic keyboards have become it. However, Chau, which rose from the
himself is from Bengal’s Purulia. In the Se identication of the character,” Rajak says. popular, he says. The music has no written elds and forests of eastern India, is gaining
raikela school of Chau, the headgear is The characters commonly portrayed are form and is passed on orally. popularity, thanks to the eorts of organisa
small. ‘Karuna rasa’, or compassion, is the Shiva, Ganesha and Devi and the mood is “There is no preset pattern to the dance. tions such as SPIC MACAY, he says.
41086
10 SPOTLIGHT KOCHI

FRIDAYREVIEW
K.K. Gopalakrishnan
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Theme twists Balan
B
alan Nambiar is an artist with sever Nambiar at his
al exceptions and rsts to his credit. Bangalore residence
As his creative works and research
on ritual art celebrate his six de
cades of artistic life, the National
Gallery of Modern Art, Bengaluru, will hold a
monthlong retrospective of this veteran pain
ter turned enamellist and sculptor.
A few years ago, while honouring Balan
Nambiar at a function in Bengaluru, the late
U.R. Ananthamurthy commented, “while his
research work is based in Kerala, the soil for
his creative works is Karnataka.” That was a
clear analysis of Balan Nambiar, whose base
has been Bengaluru since 1971.
Why Bengaluru? “At some point of time
during my Madras days and during the nal
year of the course at the Fine Arts College
there, I had an inner call that I must move.
There were emotional conicts between my
guru, the late KCS Paniker, and me and I
thought I must leave the place, which, while
looking back today, I think was the correct
decision.”
When Nambiar landed in Bengaluru in 1971,
Metal mania
he had nothing in his pocket to sustain a liv trips I visited almost all the signicant mu
ing. The Brothers’ Holy Cross provided free fa seums.”
cilities to conduct art classes for adults on the Nambiar discovered a new medium in the
condition that he had to teach to four of their process. At the South Asian Institute at Heidel
inmates without fees. Since 1971, he has been berg, where he presented his works, a person
conducting classes for drawings and painting
to children without charging fee; his lineage of
Veteran artist Balan Cholamandal and made the layout drawings
using his technical background as a draught
from the audience asked him whether he
could do a sculpture with a new medium. The
artists has now crossed 2,000. Nambiar’s installations and sman. “Paniker was a great mentor. His great suggestion was GRC. After a visit to the R&D of
“Fortunately in my entire artistic career,
right from my initial days, I was able to make a
art works of steel and bronze ness lay in the fact that he was exceptional in
spotting talent,” observes Nambiar.
Portland Cement, Nambiar I accepted the o
er. He made a sculpture with GRC within four
life through the sale of my works. There were will be on display at the Nambiar’s association with metal sculp weeks and it was exhibited at the Construc
ups and downs, there were periods that I had
to manage with minimum comfort but some
exhibition in Bangalore tures started after he settled in Bengaluru.
Shankar Hegde, whom he knew during his
ta78, at Hannover.
Nambiar’s stay was extended for four
how sustenance was ensured,” adds Nambiar #4 1 0 8 6 Madras days and who owned a factory in Ka months during which he made ve more
whose rst exhibition was in 1967 before join facilities of his studio to Nambiar and asked nakapura Road, suggested Nambiar make a sculptures. With the money, he stayed on for
ing the College of Fine Arts. him to work more with enamel. metal sculpture. After the rst sculpture, 11 months in Europe visiting nine countries
Nambiar is the only Indian sculptor, who Hailing from Kannapuram in Kannur dis Hegde asked him to do more work by oering and every important museum. “It opened a
has conducted a solo exhibition of stainless trict, Nambiar started his career as a drawing the facilities, while the raw materials were window to a panoramic view of European and
steel sculptures and enamel paintings on sil teacher in a High School in Kunissery, Palak procured by Nambiar. Hard work led to a solo African art,” describes Nambiar.
ver and copper. He is also known for his out kad. Soon he quit joined Southern Railway in exhibition of 24 garden sculptures, rst in In Back in Bangalore, where he returned,
door sculptures. Till 1999 he was doing sculp Chennai as a draughtsman. A meeting with Pa dia, in the lawn of Hotel Ashoka in 1975. challenges waited. The building in which he
tures on iron (normal steel); from 2000 on niker changed the course for the young aspi was living at Brothers’ Holy Cross had been
wards, it is mainly on stainless steel. About rant. “During my visit to an exhibition, I met The breakthrough demolished and his belongings were scat
100 stainless steel sculptures have been done Akkitham Narayanan, who told me that Panik What would he call the crucial breakthrough tered. Nambiar made a new beginning by re
by him so far. er would be happy to meet me as he had in his career? “From my college days to 1977, suming his free art classes for children. On an
Earlier Nambiar had worked with clay, heard from the catalogue of the Dusssara Ex almost every year I used to conduct a solo ex invitation from Kamaladevi Chattopadhyay,
wood, breglass reinforced concrete (GRC), hibition about my winning prizes,” recalls hibition and paintings and sculptures were he presented an illustrated lecture at India In
bronze, etc. as well. Nambiar. “I met Paniker and he thought I sold regularly. In 1974 I had an exhibition in ternational Centre, Delhi which was another
Nambiar’s method of sculpting is through a should take up art as my profession.” Mumbai. Air India bought two of my paintings break. It was in 1980.
variety of processes such as making the It was Paniker who advised Nambiar to join and in exchange I was oered a ticket to go to Next summer he was invited to visit Kash
sketches, drawings in various angles, compu The Madras Art Club which was functioning at anywhere in Europe. I used the oer in 1977. mir. In Srinagar, Dr Karan Singh, who was pre
ter generated designs, laser cutting, water jet the college. Keen on becoming a fulltime stu With the help of the Malayalam novelist M. sent at his lecture at IIC, advised him to apply
cutting, TIGwelding, grinding, polishing and dent at the College of Fine Arts under Paniker, Mukundan, who was working at the French for Nehru Fellowship. That was in 1981 and he
assembling. Inspired by the concept of Kanna- Nambiar resigned from the Railways a year be Embassy, I got an invitation from France for a got it. “After that till date I have not signed an
dibimbam — mirror idol — which is a strong fore Paniker’s retirement. 21day visit. I was invited also to visit Germany application for any fellowship or grant or
ethos of Indian culture, especially in Kerala, It was Nambiar who plotted the land at by the German government. Combining these award, but many came in search of me,” says
he made several arresting mirror forms in Nambiar.
stainless steel. Nambiar thinks it is high time India has a
Celebrating an artistic journey few Institutes of Fine Arts of world class. Nam
Enamel painting Curated by Sadanand Menon, the NGMA will hold a monthlong retrospective of his biar submitted a paper on the necessity of a
Nambiar pioneered the intricate jewellery creative work and research on ritual art to celebrate six decades of his artistic career law in India to protect works of art in public
enamel paintings on silver and copper in mod from February 4 onwards, marked by an unconventional inauguration. spaces because works are stolen or lost forev
ern India, even though enamelling as an art Why ‘unconventional’? “My life is also unconventional. An ensemble of live mizhavu er. In 2004, one of his commissioned works
form was prevalent in the country since the led by Kalamandalam Sajith Vijayan followed by lighting of altar wicks by students who installed at Lavelle Road in Bangalore was re
Mughal period, probably through the Euro had attended my art classes since 1971 would be the main event of the inaugural moved by the police using bulldozers and not
pean goldsmiths associated with them. Ena function.” even a piece of steel used for it could be re
mel colours are not produced in India and There will be sketches and drawings in Indian ink, charcoal, pastels and paintings in trieved. A photograph of the sculpture will
those used by artisans were limited in range. A water colour and oil, apart from photographs of the ritual arts of the west coast of nd a prominent place in the retrospective at
few of the Indian artists who tried jewellery South India. About 60 jewellery enamel paintings on silver and copper, all done at the the NGMA, Bangalore.
enamel paintings have used limited colours studio of Paolo De Poli, in Italy, might be signicant in the Indian art context. Sculptures What are the recurring motifs in his crea
and techniques. Further, the works are highly in bronze, mild steel and about 50 stainless steel sculptures both indoors and outdoor tive works? A series of stainless steel sculp
restricted in size. will be on show. In addition, lectures, panel discussions, gallery walks for the visitors tures of cactus depicts symbolically his auto
Paolo De Poli, considered the father of and musical programmes are planned. graph. Cactus asserts its right to exist in the
modern jewellery enamel paintings, was Special gallery walks will be arranged for groups of students of architecture and the odd, uncongenial, hostile environment. Often
Nambiar’s fatherinlaw. When he understood ne arts. Nambiar himself will be giving three lectures on topics such as Golden Ratio, he felt his life was like a cactus. Another motif
that Nambiar’s creations were dierent in Fibonacci sequences and Fractles in Mathematics, Nature and the Arts; Comparative often found in his creative works is cosmic spi
technique, colour and concepts and he had a study of Bhutas of South Canara and Theyyams of North Kerala; and On Children’s Art ral and the mathematical principles associat
passion for using a variety of colour combina Education. ed with it.
tions and larger dimensions, he extended all
KI-X
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KI-X
FRIDAYREVIEW
KOCHI
BOOKWORM 11
An evergreen voice in verse IN SHORTS

Aacharavijnaanakosham
Kerala is a land of many rituals, traditions and
beliefs. The book is a compilation
Eminent poet and environmentalist Sugathakumari, who recently turned 84, has of these customs, rites and other
aspects prevalent among people of
boldly dealt with themes both simple and complex with her inimitable expressions various castes and creed. They
have various ceremonies and rites
enjoy Sugathakumari’s so that differ from region to region.
lemn expressions. The wo Author: Dr Shornur Karthikeyan
Word power men in the poet’s works, as Publisher: Current Books
Sugathakumari is captured in her Radha or Go Price: 800
one of the nest pika series, are distinct in the
voices of her way they emote. Her Gopika,
generation as she herself says in a musi Charas
A compilation of 10 short stories. Realistic
cal production of some of her
situations are presented with a
poems, is her own, express dash of humour. The dark side of
ing her love and devotion for urban life and idiosyncrasies of the
Krishna quietly. She seeks legal system give the perfect
him out from afar, assuming setting for the stories. The movies
he does not know her. There are set in two cities — Kozhikode
is no dramatic, rapturous and Mumbai.
outpouring. Author: Ajith Karunakaran
Publisher: DC Books
Woman’s freedom Price: 75
In Abhisarika, on the other
hand, we see a bold Radha. I
was reminded of the Sanskrit
Brahmarakshassu
The sociohorror novel unfolds the secret of a
love poetry traditions in spirit of modern times. Man is
which, quite often, the wo caught in a web of problems —
man exercised a freedom sel illhealth, debt, death, crime... and
dom seen in the ages that he seeks solace in prayers. But
followed. there is no peace for him.
Though Sugathakumari is Author: Shihabuddin
well known for works like Poithumkadavu
S. GOPAKUMAR
Paavam Manavahridayam, Publisher: Current Books

Irulchirakukal, and Pathirap- Price: 95
pookkal, it is Rathrimazha

that has always held my at
Malayalathinte
*
tention. It is brilliantly tran

Mambazhakkalam
#4 1 0 8 6
Anupama Raju cation combine to create so DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD slated as Rain-at-night by her

DDDDDDDDDDDDD A journey through the history of
mething memorable that Notable works sister, the late Hridayakuma
Malayalam poetry. A compilation
A
s a Malayali born and draws me to her work. The B Abhisarika
ri, herself an equally accom of some of the memorable verses
raised outside Kerala, I stoicism could owe itself to a plished writer and academic. in Malayalam by ancient and
encountered the works certain understanding of hu B Devadasi The poem recreates rain in its presentday writers.
of many Malayalam authors man nature that nourished B Muthuchippi myriad, disturbing forms. Author: Compiled by Aravindan K.
rather late in life. However, as her as a student of philoso “Rain-at-night, S. Mangalam
a student of literature, I had phy. Or to the wisdom passed B Pathirappookkal Like some young mad wo- Publisher: DC Books
studied a few of them in En on to her by her illustrious B Raathrimazha man Price: 230
glish translation. One such parents (the poet Bodheswa For nothing
B Ambalamani
writer I had heard a great ran and Sanskrit scholar V. K. Weeping, laughing, Kanjeem Kareem Kalikkam
deal about, and whose Karthiyayini.) B Kurinjippookkal whimpering, Can cooking help children in their school
poems I had read, is Sugatha Muttering without a stop, projects? The book has several
B Paavam Maanavahridayam
kumari. It was only after I Place in anthology And sitting huddled up, easy and interesting cooking
moved to Kerala though, that Undoubtedly, Sugathakuma B Irulchirakukal Tossing her long hair.” methods that will help children in
I truly started to understand ri’s is one of the nest voices DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD (from Malayalam Poetry their academic projects. Plenty of
what she meant to the world of her generation. In Malaya- Today, Kerala Sahitya Akade games and activities based on
of letters here. lam Poetry Today, a seminal longing — may not make her mi, 1984) cooking should encourage children
The celebrated poet may anthology of poems in En unique either. However, it’s These opening lines set the to experiment.
Authors: Prof S. Sivadas and Suma Sivadas
not remember me, but I have glish translation (Kerala Sahi the manner in which she ap tone for the melancholy of
Publisher: DC Books
seen her at a few gatherings tya Akademi, 1984), she is proaches some of these con the poem. Rain is a young,
Price: 100
in Thiruvananthapuram. And one of the few women poets cepts that makes her extraor mad woman, daughter of the
I remain grateful to the late anthologised with her con dinary. dusky night, witness to love
Ayyappa Paniker for intro temporaries. In Indian English Poetry: and grief, in the poet’s words. Ente Rakshakan
ducing me to her at one such I have seen many literary New Perspectives (2002), K.V. I have heard Sugathakumari A poetrycumdrama on the life of Jesus Christ. It
occasion. And though it was tags associated with her poe Surendran makes an engag recite this poem in Malaya was 11 years ago that the work
her soft voice and graceful try, including neoromantic ing comparison between Su lam and later, listened to was first staged in the capital city
demeanour that struck me and feminist. I’m not sure gathakumari and other wo musical renditions of the by Soorya Krishnamoorthy. It was
back then, I knew she was a about these labels though, as men poets who explored the composition. The rhythm, so presented again at a mega show
quiet force to reckon with. Af I believe even literary criti nuances of the manwoman peculiar to Malayalam poe last year.
Author: V. Madhusoodhanan Nair
ter all, she was someone who cism can be subjective. And relationship at that time — Ka try, remains one of the attrac
Publisher: DC Books
was also speaking her mind the subjects she touches on in mala Suraiyya (Kamala Das), tive features of her style.
Price: 150
on various issues and demon many of her poems — wheth Gauri Deshpande et al. Every period and genera
strating her support for many er it is nature, angst, devo As much as I admire Das tion gives rise to several poet
a meaningful cause, includ tion, or the complex and am for her emphatic and often ic voices. A few endure. And Kaaval Maalakha
ing the ‘Save Silent Valley’ biguous nature of love and vociferous images, I equally Sugathakumari’s will. Thirteen short stories in this collection capture
movement. Just as she is She, along with a handful the agony and strife in our lives.
equally known for the institu BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB of other Malayalam writers, Gods, animals, angels and others
tions she has established for gives me more reason to get appear as characters in the stories
the welfare of destitute wo
It is the manner in which stoicism and closer to my language and that reflect upon the present social
men and children. sophistication combine to create something roots. milieu with an abundance of
However, as a writer, I nd humaneness.
memorable that draws me to her work. The Author: Vinu Abraham
myself compelled to write stoicism could owe itself to a certain Publisher: DC Books
about her poetic persona the The writer is a literary journalist
understanding of human nature that nourished Price: 99
most. It is the manner in and author of ‘Nine’, a book of
which stoicism and sophisti her as a student of philosophy poems.
41086
12 ENTERTAINMENT KOCHI

FRIDAYREVIEW
TUBEWATCH
Ticket to adventure
Kerala Express on People TV, steaming ahead since 2011 without a break,
turns the camera on people and places away from the arc lights
Fox life
Paul Hollywood’s city bakes
Paul Hollywood roams around the globe in search of family
bakeries and tiny restaurants that have set the culture of baking in
their neighbourhood. As he collects new recipes fine-tuned to the
local taste buds, he comes up with new delicious items that melt
in the mouth.
* Today, 12.30 pm
SPECIAL ARRANGEMENT
Zee cafe
America’s funniest home videos
This show telecasts a series of videos shot by viewers in the
normal courses of action. Certain uncommon reactions, weird
incidents, behaviour of babies and pets are recorded by common
*
people. Get some laughter, watching reactions you would not have
come across.
* Saturday, 1 pm
On track A still from Biju Muthathi’s show Kerala Express, when he interacted with the late Darbar Moideen Koya, a
#4 1 0 8 6
timber worker from Kallayi who was a treasure trove of Mappilla songs
Saraswathy Nagarajan
DDDDDDDDDDDDD
people and places who were not al now it is painted in dierent shades
ways a part of the mainstream. of yellow and gold as the grass be
B
iju Muthathi, chief broadcast “These were people who did not go gins drying. On the edges of the hil
journalist, makes no eorts to in search of fame or publicity. They lock are many Theyyam kavus. It is
suppress that note of satisfac go about their lives, doing what they there that we are travelling to this
tion when he talks about his show, believe in. It was our job to show week,” says Biju.
Kerala Express, telecast on People them to the world,” says Biju. It has not been all smooth sailing
TV. Winner of three Kerala State te He evocatively describes the plac for Biju. Last year, he ran afoul of
levision awards, Kerala Express has es he visited and the people he en fundamentalists who saw ‘orange’
been on air since 2011. Three of the countered on his trips. “During an on account of a show titled ‘Thendi
people they featured on the show interview for the show, Kathakali kaludey Daivam’ (God of beggars),
went on to be honoured with the veteran guru Chemancheri Kunhira which was based on a temple in Oa
Discovery Padma Shri, says Biju with immense man Nair mentioned that till then, chira, which also shelters many des
Diesel brothers happiness. he had not been given even a single titute people. “The title was based
Two guys in Utah hold a business venture that sells parts of diesel A former staer of Deshabhimani, Padma award. Soon after that, he on a conversation between two cha
trucks. It is interesting to watch how they also design high- Biju joined Kairali TV in Kozhikode. was chosen for the Padma Shri!” he racters in a lm Padamudra, that
powered diesel vehicles that one has never seen before. Technical His intense aair with Kerala began remembers. In the same way, Biju was narrated against the backdrop
craftsmanship is what makes the American brothers fascinating.
when he was transferred from Koz had done a feature on Lakshmikut of the temple. It is unfortunate that
* Sunday, 11 am
hikode to Thiruvananthapuram and ty, a practitioner of traditional med some people saw it as an insult to
told to conceptualise a new show to icine and a teacher at Folklore Aca the temple,” explains Biju.
be telecast. demy, Kallar. She became one of Even though his programme has
“That was the time that Indian those honoured with the Padma completed several years, Biju has
Railways was planning to stop the Shri this year. not lost his fervour for the show. He
KollamShencottah rail route, one of insists that some of his most inter
the oldest in Kerala. The century Theyyam and Bharatanatyam esting trips have been to small
old metregauge route was being “In the episode to be aired on Sun towns and villages near the borders
converted to broadgauge and since day, we are speaking to a dancer stu of states or to those villages that ex
it was the last train on that track, the dying similarities between Bharata ist near forests.
Railways had invited people to tra natyam and steps of certain “It is a misconception to assume
vel on it. Since a part of history was Theyyams in Kannur. Madayipara in that there is nothing new to see and
disappearing into the past, I decid Kannur is covered in dierent co experience. Many a time, viewers
ed to do a show on that trip and the lours during the various seasons. have called us to let us know about
name of the show became ‘Kerala During the month of JulyAugust, such interesting people,” he says.
Express’,” he recalls. the entire landscape is aglow with Kerala Express is telecast on Pe-
the colours of kakappoovu while ople TV on Sundays at 10 pm.
Changing tracks
Biju’s plan was to produce a pro
<
>
NDTV Goodtimes
Get the look gramme that focusses on the Ma
The show chooses 13 girls who wish to re-imagine and rediscover layali’s adventures on trains. But he
how they look. The show not just transforms their style of dressing discovered that such a show would
up but also peps up their confidence levels. require him to untangle a lot of red These [are] people who did not go in search of
* Saturday, 3 pm tape and so he changed it to one that fame or publicity. They go about their lives. It is
travelled around Kerala and its
neighbouring villages to discover
our job was to show them to the world
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Balan Nambiar’s steel

FRIDAY, FEBRUARY 2, 2018

FRIDAY, FEBRUARY 2, 2018

This Thing Called Culture

By our ballet critic!

What is the after the

yardstick? Taglioni, father of great ballerina

Rising Star Raag Taal Gharana

new avenues pad from Behram khan of Jaipur,

now. The Margazhi frenzy in As Sathvikaa continued to it did as a Punjabi ang, and the tap­

Discovering the art

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(COVER) RANJEET KUMAR; THULASI KAKKAT

FRIDAY, FEBRUARY 2, 2018

5 pm: Thyagarajaradhana: Pancharathna being falsely accused of stealing the an­ a memorable experience. Although the

Edayaranmula in 1883. His parents, Itty and

songs of took charge of raising him when his parents

LIZA GEORGE, SPECIAL ARRANGEMENT

devotional songs alive

Triumph of good over evil

ters in the spluttering gaslights. She bran­ roism. The stories are invariably about the ing April­May, ‘Chaak Festival’ is conducted

FRIDAY, FEBRUARY 2, 2018

Theme twists Balan

An evergreen voice in verse IN SHORTS

Paavam Manavahridayam, Publisher: Current Books

pookkal, it is Rathrimazha

tention. It is brilliantly tran­

Anupama Raju cation combine to create so­ DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD slated as Rain-at-night by her

FRIDAY, FEBRUARY 2, 2018

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now. The Margazhi frenzy in As Sathvikaa continued to it did as a Punjabi ang, and the tap

5 pm: Thyagarajaradhana: Pancharathna being falsely accused of stealing the an a memorable experience. Although the

ters in the spluttering gaslights. She bran roism. The stories are invariably about the ing AprilMay, ‘Chaak Festival’ is conducted

tention. It is brilliantly tran

Anupama Raju cation combine to create so DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD slated as Rain-at-night by her