Raja Radha Reddy's Parampara was a unique presentation of classic forms of art and ‘meaningful' fusion. On day one, while Yamini Reddy performed Kuchipudi, Bindu and Ambi from SubraMania presented Jazz, Pop, Rock and Indian ragas. By Utpal K Banerjee
Fusion in Indian classical music (and classical dance) has remained surprisingly almost a contemptible word to both purists and practitioners. For purists, the grammar of his or her performative art is sacrosanct, making any deviation from the defined parameters of the classical guru a distinct sacrilege. For practitioners, there is one class of performers who share platform with other cultures, sing or play or execute their own brand of art and then bid hasty farewell — with little time given for serious involvement in the other art forms present on the proscenium. Where is the fusion thereIJ It is only in the other class of performing artistes who share serious knowledge and interest in other genres.
Parampara: National Festival of Dance and Music, presented by Natya Tarangini under the maestros Raja and Radha Reddy — entirely with a dedicated youth brigade — provided fascinating glimpses of pure artistry as well as meaningful fusion. Hyderabad-based Yamini Reddy and group set off the first evening in scintillating Kuchipudi style. Endowed with a sculpted figure, chiselled face and scintillating grace, Yamini — all of 32 — had an attractive presence, with the right attitudes to rhythms and expressions. She began with Ganapati Kautabham, a form of poetic adulation to the benevolent God.
She launched then a vigorous Narsingha avatar and improved upon her father’s earlier choreography with an intricate rhythmic pattern. Her tandava — gyrating upon the entire stage — in the rare raga Kamal Manohari was enthrallling. The best item was the next group choreography on Swati Thirunal’s song, Naach Rahi Gouri, in raga Bhimpalasi. Nine well-trained and aptly-attired dancers executed many interesting patterns on stage, using varied hasta mudras (hand gestures). The finale Krishnagana Raaspadam was equally captivating — executing group choreography on brass-plates, for a change — bringing the house down.
SubraMania, the band founded by Bindu (vocal) and Ambi (violin) — the young progeny of the legendary violist l Subramaniam — performing own original songs, in addition to well-known standards and classics: Fusion, Jazz, Pop, Rock and Indian raga. Beginning with a Sanskrit invocatory chant, they followed with a duet fusion: The Days In The Sun… and their father’s lyric: let There Be… Ambi then launched three Jazz pieces: Baby I’m A Fool, Goody, Goody and Your Heart Is As Black As Mine. Then Ambi played an unfamiliar solo raga Nasika Mardini with Bindu later coming on piano. Bindu had a very assured voice and together they presented their father’s Harmony of the Heart and concluded with a Senegal song.
Excerpts of an interview with the performers:
Kuchipudi
Are you a purist in your approachIJ
I am an out-and-out purist and don’t believe in any mixing of forms.
What are innovative features of your choreographyIJ
In choreography, I have used pindi bandhan (cohesive holdings) in group formations. I have also used jumps and bhramaris (rotations) at different levels. In my item on Narasingha incarnation, I have utilised tandava (masculine virility) to depict the beastly elements of the man-lion.
Have you changed your classical form in any wayIJ
I have added jatis (mnemonics) aplenty: to impart rhythmic verve to the dances.
As part of new generation, what has been your motifIJ
In addition to entertainment, I seek to communicate. living in the Telugu milieu 24x7, Kuchipudi idiom comes easy to me, but not to general spectators. I consider communication with them is crucial to my craft.
Fusion band
Why is your band named SubraManiaIJ
In the 1980s, my father was performing in the USSR. He suddenly found his name being announced as ‘Subramaniac’ and the word became a private joke in our household. When my brother and I formed our band, we adopted the name.
How do you view fusionIJ
Fusion is a serious matter with us in its global form. My father has been performing in Indonesia and South Asia as well, so it’s not only the Western music that’s relevant to our purpose of fusion. We’re fascinated by a musical form called kajon. In our Subamaniam Institute of Performing Arts in Bengaluru, we study contours of global music and then imbibe what appears interesting.
Tell us about your institute and its course-curriculum.
We accept members from adults down to three-year-old babies. The latter, in fact, are called ‘Sa-Pa babies’, named after the musical notes, and are fast learners in vocal or instrumental. Our total curriculum is divided into three levels: first, over eight months, second, one year and third is one year, permitting rapid transition from lower to higher echelons, depending on individual merit.