A spotlight comes on stage, and there sits a meditative Vasanthalakshmi, ready to begin the incredibly complex Simhanandana tala. The next three avartanams of this 128-beat tala take the audience on a surreal journey with the performers.
Music and poetry has always played a significant role in Vasanthalakshmi’s life. Born in Kanigiri, Andhra Pradesh, on her maternal side, she belongs to the lineage of Vennelaganti Soorana, a royal poet of the Nellore Samsthanam. Her paternal great-grandfather was so adept at explaining the nuances of the Ramayana that the family earned the sobriquet ‘Ramayanam’.
Her mother Indira, a trained Carnatic singer and violinist, and father Prakasa Rao recognised and encouraged their daughter’s deep passion for dance and music.
Vasanthalakshmi’s journey in dance began at the age of six under the guidance of S. Bhoopal and T.V. Narasimhulu, who conducted her Bharatanatyam arangetram on October 23, 1966. Soon, guru Adyar K. Lakshman introduced her to a methodical and systematic training process, encouraging her to question and understand before accepting anything. A few years later, in 1969, Vasanthalakshmi became the partner in life and on stage to her next guru M.V. Narasimhachari.
Together, Vasanthalakshmi and Narasimhachari have enthralled audiences in India and abroad with their fine technique, challenging laya patterns, communicative abhinaya, and original choreography.
A gifted linguist, lyricist and a nattuvanar, Vasathalakshmi is known for her perfect diction of complex rhythmic syllables. She has to her credit, several sabdams, padams, varnams and mangalams. Among her critically acclaimed varnams are the one in Shanmukhapriya in khanda nadai Adi tala on Subrahmanya and the other set to Keeravani on Krishna, for which she also composed the music. She is also a proficient vainika who learnt from vidushi Kamala Aswathama.
Vasanthalakshmi’s expertise with the Simhanandana Tala Chitra Nrithyam in which the dancer draws the image of a lion with her feet has won her critical acclaim.
After his sudden demise, while finding it difficult to come to terms with grief and loss, Vasanthalakshmi decided to get back to pursuing their Simhanandini project.
In 1969, the Narasimhacharis started the Kalasamarpana Foundation, their contribution to the arts not only reflects in their 34 full-length dance dramas on diverse themes, but also in the exclusive compositions they created for the Bharatanatyam and Kuchipudi repertoires in both the solo and duet formats.
Vasanthalakshmi Narasimhachari is also the founder of Rasoham, a non-profit arts organisation started in 2007.
Vasanthalakshmi Narasimhachari receiving the Nritya Kalanidhi award from Edgar Pang Tze Chaing, Consulate General of Singapore at the inauguration of the 17th Dance Festival of the Music Academy, in Chennai. Also seen is N. Murali, president Music Academy.
| Photo Credit:
R. RAVINDRAN
The senior dancer, the recipient of the Music Academy’s Nritya kalanidhi award this year, shares the joy of being an artiste and the challenge of doing something away from the routine.
As you have learned so many classical dance forms and have specialized in two – Bharatanatyam and Kuchipudi, how difficult is it to adhere to the technique and aesthetics of each when you perform both on stage?
Beyond Bharatanatyam and Kuchipudi, we also acquainted ourselves with Mohiniyattam, Kathakali, Odissi, and Kathak. This was done more to observe the similarities and differences among the styles, thereby strengthening our chosen medium. We never encountered difficulty transitioning between styles because imbibed them into our system as flavours meant to enhance the rasa experience.
Collaborating with an artiste as spontaneous as Narasimhachari Sir, did performing as a duo come with challenges?
Dancing with him was a delight, yet it felt like navigating a delicate path. His spontaneity brought both advantages and challenges. In duet choreographies especially, striking a balance between the structured and the spontaneous is crucial, allowing space for both elements to shine. In a lighter vein, dancing with him meant a challenge not so much in remembering what had been agreed upon but anticipating what he might forget, requiring me to adapt on the spot!
M.V. Narasimhachari and Vasanthalakshmi performing at Rukmini auditorium in Kalakshetra in 2012.
| Photo Credit:
The Hindu Archives
You are a polyglot and compose in several languages. When did you start composing sabdams, varnams, and tillanas?
I am not a polyglot, but I think that I do have a flair for languages. My husband, equipped with a solid foundation in Carnatic music, inspired the musical aspects of our creations. He also had a background in acting and the Burrakatha, an oral storytelling art form of Andhra Pradesh and Telangana. I initially started composing to enhance the storyline of our dance productions and some to add to the repertoire of a student’s arangetram.
As a couple, you have created 34 dance dramas and thematic presentations; what was your role in that?
‘Bhakti Yogam-Journey of the Jeevatma’, concept and music by the Narasimhacharis, being performed at Narada Gana Sabha in 2014.
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GANESAN V
It was a continuous journey of learning! Each dance drama allowed us to immerse ourselves in literature, grasp its essence, master the art of crafting stories and screenplays, arrange music and rhythm, design the costumes, and decide on the dance styles, among other aspects. As a co-creator, I had to write lyrics in several languages, compose jathis when required to complete the composition and choreography, and notate by hand all the dance dramas and choreographic creations. An entire segment of our library at home has books containing my handwritten notes to record each of our creations.
Lasya Narasimhachari performing Simhanandini
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Special Arrangement
What sparked your interest in delving into the realm of Simhanandini, and how did the project took shape?
There is an exciting story behind it. My father took me to watch the film Amrapali, where Vyjayantimala dances gracefully, drawing the image of a lion with her feet, ultimately winning the competition. Enthralled by the dance and inspired by her performance, I told my father that I too would perform a similar dance when I grow up. Many years later, this dream came true when my husband and I learned the Simhanandini from guru C.R. Acharya. We decided to explore and present it as a performance. However, the sudden demise of my husband left me unable to cope with grief and loss. But I soon decided to resume working on the project. I also produced a comprehensive DVD featuring my daughter Lasya. The proceeds from the DVD’s sale went towards IMFPA (Indian Mouth and Foot Painting Artists). Thus, working on Simhanandini was therapeutic, providing me peace and closure.
Your views on the changes in Natyam over the years?
To me, embracing change is a defining quality of a good artiste. I am happy to see the many facets of the past merging with the present and paving the way for the future.
How can we define the intrinsic essence of an artistic style?
Typically, three layers enable us to recognise a style or a bani: the physical, the articulated, and the emotional. However, what is denoted as the core transcends these phenomena. So, journey to the core, and allow yourself enough time. It is not a ‘fast food’ to be consumed instantaneously. Natyam, rooted in an oral tradition, emphasises learning through osmosis, observation, practice, performance, and teaching.
Your advice to young dancers?
Believe in yourself, in the power of art, and know that good work always gets its due! When you stop worrying about external gratification for your work, you will experience an inner joy and bliss that gives you a sense of fulfillment. Always acknowledge and seek the blessings of your guru/gurus, especially after you become an independent and established performer. Always acknowledge the composer/choreographer and give credit to the source, even if it is just an idea or movement that you had borrowed or drawn inspiration from. Suitably thank the role played by orchestra members on every occasion you perform — be it on stage or social media. A Natya performance, after all, is a combined, collective effort creating for the audience, the magic called rasa.