My admission into the art of Bharatanatyam and academic access into the alluring apple of Balasaraswati happened in 1951. When her ball academy was inaugurated beneath the advocacy of The Music Academy in a simple but admirable ceremony. To the exhausted of Ellappa’s thalam and Kuppuswamy Mudaliar’s mridangam, Balamma accomplished me “Thaiyyaa Thai” and the antecedent adavus in the attendance of an baronial audience.
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Cut to my arangetram (1956), which took abode in the thatched roof anteroom of the Music Academy. The anteroom was abounding with vidwans, vidushis, acclaimed dancers, nattuvanars, rasikas and others. I could see that anybody had responded to the invitations of my ancestor and my teacher. Naturally, Balamma was presenting me, administering the performance. She was accompanied by her mother Jayammal in singing. Ganesan did the nattuvangam. Viswanathan on the flute, Kuppuswamy Mudaliar on the mridangam and Radhakrishna Naidu arena the clarionet completed the orchestra. This was absolutely a dream team.
As Chief Guest, my ancestor had arrive his acquaintance Harindranath Chattopadhyaya, multi-faceted artist, acclaimed scholar, painter, and the bedmate of the acclaimed Kamala Devi Chattopadhyaya, the again vice-chairman of the Sangeet Natak Akademi. The arangetram accustomed accolades for Balasaraswati and the School. I connected with my training with Balamma added acutely and learnt abounding new items. Particularly, the padam sessions became added and added magical. Both myself and K. Ramaiah, who abutting as a nattuvangam trainee, would absorb hours alert to Balamma singing — to aces up the nuances of the abhinaya. Her curve of the rasas through simple but able gestures and the majestic address in which she conveyed them to the admirers accomplished me abounding key capacity that are appropriate to the Balasaraswati style.
She insisted on acceptable training in Carnatic music and the ballerina singing along, abnormally while accomplishing padams, in adjustment to enhance the abhinaya. I adored her ability and abounding every one of her accessible performances. I was advantageous to accompany her in 1958 to the All India Ball academy of Sangeet Natak Akademi in New Delhi to present a affirmation on account of our school. It was a memorable break not alone for the befalling at the civic akin but additionally for the adventitious to biking in a alternation with Balamma and Jayammal, who showered me with affection.
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In one of her performances at the Music Academy, she premiered the “Kalpakamba” sabdam, which my ancestor had composed distinctively for my arangetram. He had requested her to inaugurate this appropriate sabdam afore I performed it. This became a masterpiece of Bala, as she was an agog addict of Goddess Kalpakamba.
At addition Music Academy performance, she presented the acclaimed Husseini swarajati. What a ablaze beheading it was! It took about one hour with bristles jaathi adroit sequences that Kandappa Pillai had accomplished her. I was advantageous to be accomplished this attenuate allotment by Balamma in its aboriginal adaptation and circuitous anatomy and execution. In addition performance, Balamma presented her acclaimed ‘Krishna Nee Begane Baro’ padam. I had apparent her accomplish this padam abounding times before, but on this occasion, she aloof surpassed herself.
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Once, she asked me to accomplish in her abode at the Music Academy’s anniversary anniversary in the backward 1950s, as she could not, due to Jayammal’s illness. I gave my best beneath her supervision. The Swadesamitran analysis in Tamil acclaimed my achievement and mentioned that “I am an able beneficiary of the illustrious Bala.” I anticipation that was the best acclaim I could anytime receive. GNB, who was Sangita Kalanidhi that year, presented me a gold badge and accepted my skill. Vazhuvur Sri Ramiah Pillai adored me and said that I had the accurate brand of Balamma. The icing on the block was the attendance of M.S. Subbulakshmi.
Life afflicted course. I got affiliated in 1967 and confused to Montreal, Canada. Balamma was travelling and teaching in the U.S. about every year. I batten to her a few times but never got a adventitious to accommodated her there. I met her aftermost in 1982 during my appointment to India to accomplish the upanayanam for my son. She told me that her bloom was not good. She recalled our affiliation and asked about my life, family, my ball academy in Montreal. I took leave afterwards she gave her blessings.
The Bharatanatyam legend, an artisan with categorical accreditation and incomparable talent, a affable but austere disciplinarian, a appreciative and adamant traditionalist, an uncompromising perfectionist, a dancer, who admired her gurus — this was the absolute Balasaraswati I knew.
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She never capital to be alleged Authority and said one had to absolutely acquire that title. For her, that appellation was aloof alone for her own Authority Kandappa. But I appetite to alarm her Authority Balamma. I owe it to her for absolution me with a different ambit of a adored art.
Thank you Balamma!
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