Artile in "The Hindu" on renowned dancer Dr.K Venkatlakshamma
Dinesh Krishnajois
Skill untouched by Time
Kadur Venkatalakshmamma, 96, is fragile but the spark is alive.
NANDINI RAMANI talks to this exponent of the Mysore School of
Bharatanatyam.
IT IS a tiny house decorated typically with flowers at the doorstep, a
custom among the Kannadigas to propitiate and welcome the divine
guardians of prosperity. The place is Kadur, an interior village of
Karnataka, about 300 km from Bangalore. As one enters this humble
abode, a sense of warmth and humility could be felt. In a small living
room, you meet the frail-looking lady waiting to greet you with a soft
smile on her glowing face. It was indeed a unique experience to speak
to Kadur Venkatalakshmamma, veteran of the Mysore School of
Bharatanatyam.
As one listened to this grand old lady (96) of Bharatanatyam, one
could watch emotions quickly changing on her wrinkled face. She has
been adorned with several awards including Padma Bhushan, Karnataka
Kala Tilaka, Sangeeta Kala Ratna, etc, to name a few, apart from
innumerable honours showered on her by the royal patrons of Mysore.
In fact the area, as one enters Kadur and drives towards Tamkali
Tandya, is named Venkatalakshmamma Nagar (V. L. Nagara).
Venkatalakshmamma served at the Palace for 30 years from 1939 to 1969.
During that period she participated in almost all the festivals along
with illustrious dancers and musicians of those times who were invited
to the court by the royal patrons. It was Veena Bakshi Subbanna who
recognised her merit and commended her as a worthy student of her
renowned teacher, Jatti Thayamma (known as Natya Saraswati of
Karnataka). Thus Venkatalakshmamma had the honour of becoming the
Asthana Narthaki along with four other dancers at the court of Raja
Nalvadi Krishna Raja Wodeyar, the then ruler of Mysore. She had the
privilege of dancing for both the coronation and wedding ceremonies of
Sri Jayachamaraja Wodeyar, himself a great connoisseur, composer and
patron of Samskrita, Sahitya and Sangita.
Venkatalakshmamma found a niche for the Mysore school of Bharatanatyam
with her exquisite handling of abhinaya. The nuances were enriched by
her in-depth understanding of the musical and literary aspects of the
compositions that she presented. In the Mysore style, the recital
commenced with Purva Ranga Vidhi, a customary invocatory number
addressed to Lord Ganesa, with jathis in between which occupied the
place of the Alarippu. This was followed by Jatiswaram, Sabdam,
Varnam, Padam, etc., Venkatalakshmamma's artistry had developed in a
methodical process of learning of not only the prayoga aspects of the
art but also the essential sources like the study of Sanskrit, Sahitya
and most important, vocal music from stalwarts of those times like
Asthana Vidwan Devendrappa. She also underwent formal education up to
Class VIII.
Coming out of the palace environs in 1969, Venkatalakshmamma presented
memorable performances, offered teaching programmes and served in
prestigious positions like head of the dance department in the Faculty
of Arts at the University of Mysore.
Even at this ripe age, Venkatalakshmamma has an unfailing memory. She
creates a pleasant atmosphere as she patiently listens and answers to
all the queries. Asked whether she had met with Bala, she said, ``Once
we both were supposed to discuss and perform on the same platform. But
somehow it did not come through. I felt quite sad about it, as I very
much wanted to meet her. Although we could not interact personally on
any occasion, the respect was mutual.''
``Can you show some specific composition that you always liked and
enjoyed performing?'' ``Of course''. There was no hesitation on her
part. ``Please bear with me, I can't stand and perform,'' she
apologised. Then followed moments of beautiful poetry in visualised
musical form. As she sang a Javali in Kapi with a soft melodious
voice, she enacted and instantly brought alive the love-lorn Nayika.
Age has neither stolen her energy and enthusiasm, nor made her skilful
strokes stale. Her eyes, glittering with emotions portrayed the young
shy maiden elaborating on her plight. There was total tranquillity and
time stood still.