To hint a seven-decade journey is difficult, extra so when it considerations a persona as iconic as Lakshmi Viswanathan. Beyond the numerous awards that she obtained (Kalaimamani, Nritya Choodamani, Nritya Kalanidhi and extra), Lakshmi was a delicate artiste with a refreshing sense of candour and irreverence. Traversing the realms of efficiency, curation, scholarship and writing with ease, she was a robust presence within the panorama of dance.
A major disciple of Kanjeevaram Elappa Pillai, Lakshmi took nice delight in carrying ahead the Thanjavur bani of dance and music, even authoring a number of books on it, together with Bharatanatyam: The Tamil Heritage, Kunjamma: Ode to a Nightingale and Women of Pride: The Devadasi Heritage.
True to the fashion
Okay.P.Okay. Chandrasekaran, son of celebrated nattuvanar Kittappa Pillai, of the Thanjavur custom remembers, “Whatever Lakshmi Viswanathan presented, she always remained true to the style.” Says senior dancer Geeta Chandran, “Lakshmi’s vast knowledge of the history of Bharatanatyam, its renaissance and its meanderings — both meaningful and meaningless — since its rebirth were all issues that fed both her intellect and humour. A few days before her passing, I heard her speak on devadasi Gnanam as part of the Sangam Festival at Bharatiya Vidya Bhavan.”
Lakshmi’s analysis on dance was essential because it highlighted the salient options of the Elappa Pillai fashion. She travelled around the globe sharing the sweetness and richness of the Thanjavur bani. A previous convenor of Sri Krishna Gana Sabha’s Natya Kala convention and the previous editor of the Kalakshetra journal, Lakshmi’s penchant for the rigorous examine of dance historical past was an necessary side of her profession.
Her attachment to the Kapaleeswarar temple in Mylapore impressed a publication in 2006, which offered a radical exploration of the temple and its festivals. Her exploration of the devadasi custom of Thanjavur was refreshing, as she was a direct disciple of the nattuvanar custom. Her remedy of the repertoire items mirrored the aesthetic of the previous. Her e-book on the devadasi heritage was a tribute to the ladies who belonged to that lineage.
Lakshmi’s coaching in Carnatic vocal music underneath T. Muktha, Tiruvaiyaru Krishnamurthy and Tediyur Narayanaswami knowledgeable her dance immensely. She additionally educated in Kuchipudi underneath Vempatti Chinna Satyam.
All within the household
Veteran Carnatic vocalist Charumathi Ramachandran recalling the rapport that she shared along with her sister, each on and off stage, says, “I sang for her performances for 20 years. We were inculcated into the arts at a young age by our parents. We would never miss participating in the school culturals. Lakshmi was very focussed on dance. She was always eager to add to her knowledge. She would read a lot and learnt new pieces from Vazhuvoor Samaraj, Sankari Krishnan and Mylapore Gowri Ammal to widen her repertoire.”
According to dancer-teacher Roja Kannan, who’s the president of ABHAI (Association of Bharatanatyam Artistes of India), “Lakshmi Viswanathan was a trained Carnatic vocalist, who would sing while beautifully demonstrating abhinayam. We at ABHAI had the privilege of holding many Abhivriddhishalas with her, where she shared her knowlege of padams, kirtanams and javalis. When she headed ABHAI, she introduced some landmark events into the institution’s calendar. The first Mahabalipuram Festival of Dance was conceived and curated by Lakshmi akka. It was held at the historic site of Arjuna’s Penance at the Shore Temple. It soon became a popular dance festival and was eventually taken up by the Tamil Nadu Tourism Development Corporation.”
Lakshmi had a definite fashion of abhinaya, expressing subtlety and nuance in her strategy to even the fieriest of nayikas. One of her hottest renditions ‘Entati kuluke’ noticed her embodying a nayika who was as daring and trustworthy as she was. Her notable productions embrace ‘The Banyan Tree’ by which she staged the stress between E. Krishna Iyer (who presided over her arangetram) and Dr. Muthulakshmi Reddy. ‘My Tyagaraja’ was one other landmark manufacturing in regards to the life and occasions of Bangalore Nagarathnammal.
Understanding of literature
According to Bharatanatyam exponent Rama Vaidyanathan, Lakshmi’s distinctive grasp of the artwork kind and her deep understanding of literature made her stand out as an artiste. As she herself put it, she beloved to “swim in the sahitya”.
She had the flexibility to take a look at the assorted layers, and likewise on the a number of contexts of any literary work. As the convenor of the Natya Kala Conference, 2022, I had the privilege of inviting her to current a session titled ‘Tanjavur Natyam – Roots of Sringara’. She lived life on her personal phrases, residing each second with elan and relishing all issues lovely. She had assorted pursuits and mates internationally. Her final Season in Chennai was a occurring one, filled with lectures and performances. It was as if she was bidding goodbye to all of the folks she beloved, and the areas that she had inhabited all her life.”
When one seems to be at an artiste’s legacy, it is just their physique of labor that’s spoken about. In the case of Lakshmi Viswanathan, she has bestowed upon us a legacy that’s each skilled and private. The dancer was identified for having fun with lengthy conversations and inspiring younger artistes.
Bengaluru-based Praveen Kumar remembers how one by no means felt intimidated by her presence and information. “You could just pick up the phone and chat with her. It was a rare quality in a dancer of her stature.”
From her debut on the age of seven on the Rasika Ranjani Sabha in Mylapore to her lectures this December Season, Lakshmi Viswanathan embraced with ardour each aspect of Bharatanatyam.
Source: www.thehindu.com