KateWakeling

FinziTrustReport:StudyingCarnaticFluteandBharatanatyamDanceinChennai

HavingspentthepastfouryearsgrapplingwithaPhDonBalinesegamelanmusic,andhavingheardabouttheopportunityofferedbytheFinziTrusttoexploreadifferentavenueinmusic,Iwas hungrytotrysomethingnew.IwantedtostudysomethingthathadsomeconnectionwithmyIndonesianstudiesbutwhichalsochargedoffinanewdirection.Moreimportantly,Iwantedtolearnsomethingforitsownsakeandforapracticalpurpose:musicandmovementthatIwouldstudytoperformandteach,andnottowriteabout.AnencounterwithaBharatanatyamdancerandaccompanyingCarnaticmusicensembleatanIndianCulturaleventatAsiaHouseinLondonintroducedmetothewarmandvitalmusicandmovementofSouthIndia,andmycoursewasset.

AnoteonCarnaticmusicandBharatanatyamdance

Carnaticmusic,commonlyassociatedwiththeSouthofIndia,issaidtobesomeoftheoldestmusicoftheSubcontinent.Itisusuallyplayedbysmallgroupsofmusicians,customarilyfeaturingamridangam(two‐headeddrum),atambura(astrummedstringinstrumentthatproducesadrone)plusacombinationofasinger,violin(playedsittingdownandwiththescrollortipoftheviolinrestingonthefloor),woodenflute(venu),veena(alarge,pluckedinstrumentlainhorizontallyonthefloor)andghatam(anearthenwarewaterpot,strucktoproducearangeofsounds).WhiledistinctinmanywaysfromNorthIndian(orHindustani)classicalmusic,theCarnatictraditionsharesmuchintermsofthemelodicsystemofraga(collectionsoftoneswithprescribedinternalrelationships)andoftala(metricarrangement).However,particulartoCarnaticmusicistheemphasisonvocalmusic,whereeverymelodicinstrument(beitflute,violinorveena)aimstore‐recreatetheexpressionofthehumanvoice,astyleknownasgayaki.

TheCarnaticflute(orvenu)isatransverseflutemadeofbambooandplayedbyblowingacrossaholeattheinstrument’sendandcoveringvariouscombinationsoftheflute’seightcarvedholeswiththefingers.ThefluteisaflexibleandexpressivememberoftheCarnaticensemble,allowingtheproductionofdifferenttonequalitiesandvaryingarticulation,aswellasslidesandornamentationbetweentones.ItissometimesperformedastheprincipalmelodicinstrumentoftheCarnaticensemble,withtheplayerleadingthegroupintempoandmusicalstructurethroughimprovisation.Alternatively,theflutesupportsavocalist,interchangingpassagesofmelodicimprovisationandimitationwiththesinger.

BharatanatyamisagenreoftempledancewhichoriginatesfromTamilNadu,anEasternprovinceofSouthIndia.Itissaidtobeveryold,oneoftheoldestofIndianperformancegenresandmanyclaimitsoriginstobeinthestonecarvingsliningthewallsoftheancienttempleofChidambaram.VariousrevisionistaccountshavesuggestedthatBharatanatyamasa‘classical’formmaynotbesooldasoftenheld.Certainly,itspopularitytodayisdueprincipallytotheBharatanatyam‘revival’whichtookplaceinthe1930s,ledbydancersE.KrisnaandAyerRukminiDeviArundalewhoraised(orcreated)thedance’sprofileanddevelopedtheideaoftheBharatanatyamdancedramaorballet.RukminiDeviArundalalsofoundedthenowworld‐famousdanceschoolofKalekshetrainChennai.Whetherancientormoremodern,Bharatanatyamisanextraordinarydanceformfullofgraceandenergy.Itiscomprisedofaseriesofexpressivehandgestures(hastas)whichmayservenarrativeordescriptivefunctions,showingflowers,tears,insectsordemons.Meanwhile,Bharatanatyamfeetstamp,tapandflexincomplexaccordwiththemusic’srhythm

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accompanimentasbeatenoutonthedrumandrungonbrasscymbalsplayedbythedancer’steacher,whoalsocallsoutadistinctiveseriesofsung‐spokensyllableswithwhichthedancermustalign.

AnoteonChennai

Chennai(formerlyMadras)isthecapitalofthesoutheasternIndianstateofTamilNadu.Alarge,industrialcityofover4millionpeople,ChennaiisalsothecentreofCarnaticartsandtheregionboastsalonghistoryofperformers,composers,dancersandchoreographersbornthere.Thecityhashostedthefamous‘MusicSeason’eachDecember‐Januarysince1927.ThefestivalwasoriginallyheldtocelebratetheopeningoftheMadrasMusicAcademy,buttheSeasonnowstandsasashowcaseofCarnaticperformingartsingeneralanddrawsahugeinternationalfollowing.Thecityalsoboastsalargenumberofmusicanddanceschools(includingtheworldfamousKalekshetraschoolofdance,asmentionedabove)andisanideallocationtostudyCarnaticperformingarts.

FirstImpressions

IarrivedinChennaiinthemiddleofthenight.IwasscoopedupfromtheairportbyadriverfromthehotelwhereIwouldspendthefirstfewnights,anddrivenacrossthecity.Chennaiwasfarfromasleep.Trafficscreechedpastonthehighwayandstreetsellersstoodbytheirstalls,whilegroupsofmensatoutonthepavements,deepinconversation.Thenextmorning,followingbreakfastandahardlookatthemap,Isetouttoexplorethestreetsbeforeclassesbeganthenextday.Iwasstruckbythecityaslively,dusty,friendlyandentirelyunglamorous.Aplacelong‐boundtopracticesofartanddevotion,Chennai’scolourswereinitiallyconcealedbycongestedtrafficandfadedshoppingcentres.AsIgraduallydiscoveredfromthemanykindfriendswholatertookmeabout,andfrommyownstumblingadventuresthroughthecity,Chennai’scolouroftenliesbehindtalldustywalls‐intemples,homesandonhiddentheatrestages.

WhatIdiddiscoveronmyfirstday’swalkingwasfoodandmusic:bothofwhichwerecheap,wonderfulandinmagnificentabundance.Firstwaslunch.Chennaiisaculinarycentre.IsatdownintheSavanaBhavan,thecelebratedcanteenchainfoundalloverSouthIndiaandmadewhatlookedlikeareasonableorderofa‘standardsetmenu’.Twowomensittingoppositesmiledbrieflyatmychoice.Whatfollowedwasanextraordinaryburstofflavours,textures,temperaturesandcolours.Whilethetwowomenoppositemepickedelegantlyattheirsinglemasaladosa(athinricepancakestuffedwithvegetablecurry),Iwaspresentedwithovertwentydishesofpickles,saucesandcurries,someexplodingwithspice,somecoolandrefreshing,somesweet,somesharp.Thiswasaccompaniedbyheapsofriceandbreads,followedbyasubstantialdishoficecreamandabundleofpaan‐betelnutchew,famousforturningthechewers’teethbrightred.Havingonlybeenabletomakemywaythoughathirdofthedeliciousfoodinfrontofmebeforesurrendering,IwasgentlyadvisedmyfellowdinerstoorderontheconservativesideinChennai,unlessextravagantlyhungry.

Stillinaweatmylunch,IturnedoutofthecanteenandfoundmyselffacingChennai’sownMusicAcademy.IhadtimedmytriptocoincidewiththeannualChennai‘Season’ofMusicandDance,buthadbeenwarnedthatattendanceatperformanceswashighlysoughtafter,andticketscouldbescarceandexpensive.WanderingintothefoyerandaskingattheticketdeskIwasassuredthatnospacesremainedforanyoftheperformancesatthemainhalloverthenextfewdays.

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Disappointedbutresigned,IwanderedoutofthebuildingtolookroundtheAcademy’scomplex.Findingmywayintoanotherbuildingtoescapethesun,Iwasimmediatelyusheredintoanothersmallerconcerthallwhereaperformancewasinprogress,featuringasingerplusfullCarnaticensembleandapparentlyopentothepublic.Lookingatanoticepinnedtothehall,itappearedaseriesoffreeperformances,opentoall,weretorunthroughoutthenextfewweeksofthefestival,frommorningtoevening.Iwasabletospendtherestofafternoonwatchinganarrayofperformers,occasionallywanderingoutsideforteabeforeIwouldreturntoanotherhourofmusic.

IwasalsosubjecttoanotherpieceofserendipityattheMusicAcademy.IfoundmyselfsittingnexttoanIndiangentlemanwhohadlivedinAmericaforthelastfortyyearsandwhowasdelightedtohaveachancetoexplainmoreabouttheperformancetothewide‐eyedaliensittingnexttohim.Nowretiredasanastrophysicist,havingworkedformanyyearsattheLasAlamosNationalLaboratory,DrV.K.Viswanathan(orVKVashewasknown)turnedouttobeanextraordinarypatronoftheIndianarts‐particularlymusic‐andwasacquaintedwithallofChennai’sfinestartists.VKVwascloselyassociatedwiththeClevelandThyagarajaAradhana(ahugefestivalofIndianperformancewhichtakesplacesannuallyinOhio)andreturnedtohishometowninTamilNadumostyearstoenjoytheChennaifestivalandtoliaisewithIndianartistswhomayperformatCleveland.Westruckupafriendshipandfromthatday,VKVintroducedmetodozensofmusicians anddancers,foundmeinvitationstoattendperformancesandchaperonedmyattendanceateveningaftereveningofmusicanddance.WithanenthusiasmtoshowmewhatChennaihadtoofferthatborderedontheunmanageable(fromthenon,VKVwouldtelephonemeat6ameverymorningtokeepmeinformedofwhatperformanceswouldbetakingplaceduringthecomingday),VKVbecamemyfriendandguidethroughoutmystay.Heintroducedmetoawarmcircleoffriendswholikewisetookmeundertheirwing,andsupportedmeinmynewstudieswithmuchearnestenthusiasm.

ItwasanauspiciousstartandIverymuchhopedmyownstudiesofmusicanddanceinChennaiwouldbeaswarmandrewardingasmyentryintoChennaiculturallife.

LearningtheFlute

Myfluteteacher,BhaskaranKrishnamurthi,wasathin,livelyman.Havingarrangedameetingbyemailthroughhisson,Bhaskaranconsideredmewithsomeskepticismaswespokebeforemyfirstlessonandwaskeentohearaboutmyothermusicalexperience,particularlymyflutestudies.Sittinginhislivingroom,wetalkedforsometimeandImetBhaskaran’swifeandsons,whowereanxioustofindoutaboutmyfamilyandhome.Enteringthemusicroomatthebackoftheflat,IwasdirectedtositandBhaskarancarefullyunwrappedawoodenfluteinfrontofme.Withsomereliefonbothsidesofthecarpet,itemergedthattheembouchureandarrangementoffingersalongtheinstrumentborecloserelationtotheWesternflute.Whilethisimmediateconnectionwasreassuringandmeantthatitwaspossibletocoverasubstantialamountofrepertoireduringmystay,itwouldalsoyieldsomedifficulties.CertainelementsofWesterntechnique‐forinstance,left‐handpositionandhowhighthefingersaretobeliftedfromthefingersholes‐werequitedifferentinCarnaticplayingandIrealisedadjustingalearnttechniquewasinmanywaysmorechallengingthanlearninganewone.

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Carnaticfluteplayerandteacher,BhaskaranKrishnamurthi

Fromthenon,myflutelessonstookplacemostmorningsandbeganwithlearningvarisa(‘exercises’)invariousraga.Thefirstandmostsimpleraga,harikamboja,correspondedwithWesternflutefingeringandwasrelativelystraightforwardtograsp.ThefirstexercisesweredesignedtobuildfingeragilityandalsotodevelopmyfamiliaritywithIndian‘solfa’(whichruns:sa‐ri‐ga‐ma‐pa‐da‐ni‐[sa]).Writtenoutasaseriesofletters:SRGMPDN,thesetonescanbeusedfornotation,usingdashesanddotstoindicaterhythmandoctaveoctavedisplacement.Thetonescanalsobesungand,alongsidemasteringfingerings,itwassoonclearthatbeingabletosingeachnewpiecewiththecorrectsyllableswasfundamentaltolearning.

Fromhere,Iprogressedthrougharangeofvarisaindifferentraga,andbegantolearnthesubtlesystemofrulesandrelationshipsandthatgoverneachindividualraga.Ratherthanlearningaragaasasinglesetoffingerings,itemergedthateachiscomposedofaseriesofrelationshipsandornamentsbetweennotes,dependentonthepreciseapproachtoanygiventone.Masteringthenextsetofraga‐Malaharai,KalyaniandMohanan‐provedasubstantialchallengeandBhaskaranwasfirminhisexpectationthateachsetofexercisesbeplayedpreciselyandfluently.Iwasalsoexpectedtobeabletoplayeachexerciseatthreevaryingtempo‘levels’oneaftertheother(slow‐medium‐fast)andtobeabletosingeachexercisewiththecorrectsyllablesandvocalornamentation.EarlymorningsatmyguesthouseweresoongivenovertopracticeandIwouldcarrymynotebookofexerciseswhenattendingeveningperformances,workingthroughthepassagesinmyheadduringanygapsintheconcert.BhaskaranalsosuggestedthatIpurchasemyowninstrument,havingborrowedaspareflutefromhimforthefirstweekofmystay.Bringingasetofflutestoaclass,wetriedthemoutuntilsettlingonwiththejustrighttoneandtuning.Iwasrelievedtodiscoverthatmynewandprincelywoodenflutewouldcostmeonly£3.

Afterworkingontheseragathroughoutthefirstweek(althoughmyperformancesatthefastlevel tendedtosubstantiallylessthanprecise),Bhaskaranintroducedtomyfirstgitaorshortpiece,‘SriGananadha’,whichisdevotedtotheelephantgodGaneshaandcustomarilyplayedattheopeningofeveryCarnaticmusicperformance.TheintricaciesoftheragaIhadbeenlearningbegantomakemoresenseincontext,therelationshipsbetweentonessuddenlycomingaliveasthey

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shapedthelineofthemelody.Itwasalsoarelieftobeabletoworkonmemorisingsomethingwithamoremusicalshape,ratherthantheabstractpatternsofthevarisa.

Ilearntthroughacombinationofrepetition(bothsingingandontheflute);recordingBhaskaranandpractisingwiththesesoundfiles;orfromthenotationwhichBhaskaranwoulddrawintomynotebookatthecloseofeachclass.Ifoundthisvarietyofmethodstolearningextremelyhelpful.MyexperiencesofstudyingdrumminginBalihadoftenbeenquitefrustrating,wherenotechnicalexercisesandwherelearningtakesplaceonlybymemoryandusuallyup‐to‐tempofromtheveryfirstclass.TheopportunitytolearnpiecesinitiallyataslowertempoandwiththeaidofnotationmeantitwaspossibletoprogressmorequicklyandIwentontolearnanumberofothergitaincludingKundaGowra,VaraVeenaandKamalaJaadala,eachpiecesputtingoneoftheragasIhadlearntintopractice,andeachincludingincreasinglycomplicatedornamentation.

SomeofBhaskaran’snotation,includingtheragatoneswrittenoutatthetopofeachgitaandthesongtextsforeachgitawrittenbelowthemelody.

Bhaskaranwaskeentopromotehimselfasaninternationalteacherandwantedtofilmmyclassestopostonyoutube.Ifoundthissuddenpublicqualitytomylessonsunnervingandwasinitiallyalittlereluctanttoparticipate.However,IrealisedthattakingpartwasanimportantwaytoshowmyappreciationtoBhasakaranforallhishelp,andIalsoreflectedonthemanymusicianswhohadassistedmeinmyPhDresearch,allowingthemselvestoberecorded,interviewedandphotographedwithoutknowingquitewheretheirwords,musicandimagewouldendup:thetableshadturnedanditwasmyturntojoinin.So,here’salinktoaclipfromoneofmylessons:

http://www.youtube.com/watch?v=SXoIBIiIdWM

[Orelsepleasesearchfor“Bhaskaranflutelessons”inyoutube]

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SpendingtimewithBhaskaranandhisfamilywasnotonlyanamazingmusicaleducation,butpresentedmuchwiderpossibilitiesoflearning.Bhaskaran’swifeshowedmethebestofSouthIndianfood.Iatedelicioussweetporridge,flavouredwithgingerandcardamon,beforeclasses.Onfestivaldays,Iatemoundsofvegetarianfoodfromgreenbananaleaves:spinachdal,curdriceandlimepickle.Iwasgentlyinstructedwhereandhowtobuyclothes:wheretobuythecheapest,qualitysalwarekameeze(aswornformydanceclasses‐baggycottontrousers,alongtunicandascarftobedrapedacrossthecollarbonestodriftbehind);wheretofindthemostbeautifulsaris;howtotieasari;wheretohavethesariblousetailoredtofit.

DinnerduringPongal,theTamilharvestfestival,atBhaskaran’shouse

IalsohadanintroductiontoAyurvedicmedicinewhichprovedacautiousrevelation.BeforeIflewouttoIndia,I’dexperiencedincreasingsorenessinmywristsandhands.Uncertainifitwasfromtyping,orfromtoomuchBalinesedancinginLondon,Ihadhopedthatthepainwouldeaseonarrivinginawarmclimateawayfromcomputer.AsIbeganmystudies,thisprovedpartiallytrue,butIsoonbegantostrugglewiththedifficultgriprequiredbytheCarnaticflute.WiththeWesternflute,theinstrumentmayrestonthesideofthehandbetweentheleft‐handthumbandforefinger,buthere,theCarnaticflutemustbepressedbythefingersaloneontothejawwithoutusingthesideofthehand‐apositionwhichinitiallyrequiredconsiderablymoretensionandstrengthinmyfingersthanIwasusedto.

Astheproblemdeveloped,Bhaskaranshowedgreatkindnessandconcern.Hesuggestedarangeofbreathingexercisestorelaxthemusclesandwasinsistentonalwaysplayingwiththegreatestpossiblesoftnessinthefingers.However,asthepaininmywristincreased,BhaskaransuggestedIvisithisAyurvedicdoctorformedicationandamassage.HavingalreadyhadseveralAyurvedicmassagessincemyarrival,whichhadprovedrelaxingbutnotparticularlyhealing,Iwasskeptical.Theywerealsorelativelyexpensive.Bhaskaran’srecommendationwasquitedifferent.IwasseenbyadoctoratChennai’sofficialAyurvedichealthcentreandgivenaprescriptionforaselectionofoilstoheatupeacheveningandmorningandthenapplytomywristsandforearms.IwasalsogivenaAyurvedicmassageattheclinic,whichincludedtheapplicationofgreatquantitiesof

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specialoilstomybody,andastrange‘pattingdown’withcollectionofleaveswrappedupinoil‐coatedclothandheatedtoscorchingpointonafryingpan.Whileatfirstuncertain,followingthemassageandaweekofapplyingtheoils,mywristsweremuchimprovedandbythetimeIleftIndiaattheendofthemonththerewasnopainremaining.Theentiretreatmenthadalsocostless than£2.Whetherornotitasthegoodweather,amonth’sescapefromthecomputerkeyboardortheAyurvedictreatment,IwashugelyrelievedandextremelygratefultoBhaskaranforhishelp.

LastclasswithKBhaskaranathishomeinMylapore,Chennai

LearningBharatanatyamdance

HavingstudiedBalinesedanceintensivelyforthreeyears,IwaseagertotryoutadifferentstyleofAsiandanceandconfidentthatIwasingoodconditiontotryBharatanatyam.Iwashoweverunpreparedforthesheerphysicalstrengthandendurancerequiredforthisdance‐butonceIgotthroughtheinitialshocktothesystemofthree‐hourclassesinthebakingheat,Ifoundtheprocess oflearningBharatanatyamoneofthemostrewarding,excitingandsatisfyingexperiencesofmylife.Itwasalsoabrilliantcompaniontomyfluteclasses,whichrequiredsuchadifferenttypeofconcentration.Althoughcombiningbothsetsofstudiesprovedachallenge,particularlyasbothrequiredsubstantialprivatepractice,IfeltitmadeahugedifferenttolearnaboutboththeseaspectsofSouthIndianperformanceinconjunction.

Fixingthedanceclassesinitiallyprovedtricky.WhilemusiciansduringtheChennai‘Season’areinvolvedinnumerousperformances,theirtimecommitmentsarenottooonerousasensemblesusuallyworktogetherthroughouttheyearandthemajorityofrepertoireisalreadywellestablished.Fordancers,particularlyfortheheadsofdanceschoolswhoalsoactaschoreographers,preparingnewworksforperformanceatthefestivalistremendouslydemandingandrequireshoursofrehearsaltoteachandpolishallthemovements.Fromhere,directorsmustthencoordinatethedancerswiththemusicalaccompanimentandarrangecostumes,setsandpublicity.ItwasafewdaysintomystaybeforeIwasevenabletomeetwithmyteacher,KanchanaJanardhanan,andsheappeareddeeplyconcernedthatshewouldhavesufficientfreetimeto

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teachmeafterall.Itwasagreedthatwewouldhaveoneclasstogetherandshewouldthenconsultherscheduletoseeifitwaspossibletomaketimeornot.ItwaswithsometrepidationthatIsetoutformyfirstclass,awarethatifIdidnotshowenoughconcentrationandcommitment,Imaynotbeabletocontinueclasses.

Bharatanatyamdancer,choreographerandteacher,KanchanaJanardhanan

Kanchana’sclassestookplaceinasmallshed‐likespaceatthebackofagrandIndianhouseownedbythefamilyofoneKanchana’sstudentsontheothersideoftown.ThiswasKanchana’sstudioforheracademy,theMayuraSchoolofDance,andIwassoontodiscoverthatherteachingandrehearsingschedulewasindeedusuallycrammedfullofworkwithenthusiasticpupilsandhardworkingprofessionaldancers.

TheMayuradancestudiowhereclassestookplace8

AnyBharatanatyamlessonmustbeginwithaprayertotheHinduGodShiva,intheincarnationofNataraja(lit.theLordoftheDance).Theprayerisintheformoffootstamps(tattu)ontheground,aseriesofhandgesturesandtouchingtheteacher’shandsorwoodblock(onwhichtheteacherbeatstherhythmforthestudenttodancetothroughouttheclass).Myfirstlessonbeganwiththeveryfirstofthepostures(karanas)andhandgestures(hastas)whichcompriseBharanatyam.Kanchanawasawarmbutferociousteacher,relentlesslybeatingthewoodblockwithasmileasIwouldbeganatenthrepeatofasequenceofsteps,eacharedhotcrunchofthethighs.Whateverelse,IwasdeterminednottogiveupandKanchanaagreedtotakemeonasherpupil,fittinginclassesbetweenrehearsalsfortheMayuraSchool’sownperformancetowardstheendofthemonth,forwhichIhadtopromisetoattend.

AshrinetoShivaintheMayuradancestudio

Classeswerecontinuousandintenseandforthefirstweek,eachclassfollowedbyconsiderablepaininmythighsandfeet(acrucialmoveinBharatanatyamisasharpfootstamp,whichmustbeaudibletoanaudience,sorequiresconsiderableweight).Kanchanaadvisedsoakingmylegsinhotwaterafterclassesandonreturningtomyroomstillburningwithtiredness,Iwouldsitmylegsinthelargeplasticbucketinstalledinmyguesthousebathroomandwaitfortheheattocreepintomymuscles.Graduallythepainbegantosubside,andIstartedtotakeanalmostmasochisticdelightintheseclasses,workingashardasIcouldtomaintaintheposturesandkeepthemovementscrispandstrong.

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AseriesofBharatanatyamkaranasorpostures

AftersomeinitialfrustrationatnotrememberingwhatIhadlearntinaclassthedaybefore,IestablishedawayofnotatinganynewmovessothatIcouldpracticemoreusefullyatthehotel,andbegantounderstandtherealandpracticalconnectionsbetweenthemusicIwaslearningwithBhaskaranandtherhythmicpatternsofBharatanatyam.

SomeimpromptuBharatanatyamnotation

Theonephysicalreleaseintheclasswaslearningthehastasorhandgestures,whichareparticularlydescriptiveandallowtheBharanatyamtoplaydifferentcharactersandtellintricatestoriesduringasolodance.After40minutesuprightwork,Kanchanawouldinvitemetositwhere

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Imayeatorangesorcurdricewhilecatchingmybreath(Iwasnotallowedtodrinkanywaterduringalessonasitbloatsthestomachandmakesithardertocontinue).Whilesitting,wewouldworkthroughthevarioushastas,learningthegesturesforeating,crying,aking,asnake,abumblebeeandsoon,beforereturningtoworkontheuprightpostures(karanas)andfootstampingpatterns(tattu).

ThelastweekofmytimeinChennaicoincidedwiththeMayuradanceschoolperformanceswhichtookplaceinoneofthesmallerstagesattheChennaiMusicAcademyandattheMylaporeFineArtsClub.ItwasfantastictoseeKanchana’sstudentsperform,frompupilswhohadbeenlearningBharatanatyamforjustoneyeartohighlyadvancedstudentswhonowworkedasprofessionaldancersandalsosharedintheschool’steaching.ThefinaleveningincludedapremiereofKanchana’snewchoreographywhichchartedthetrialsofRamaandSitafromtheRanayanaandfeaturedhermostskilleddancers,whohadlearnttheentirepieceinjustoneweek.Iwashonouredtoattendandtohavethechancetoassistwithpreparationsandcostumechanges.Iwasalsohelpedintowearingasariforthefirsttimeandfestoonedwithborrowedjewellerybeforetakingmyseatintheauditorium.Itwasabrilliantendtomystaytobeabletobeabletowatchsomuchskillandhardworkinaction,andmuchofmyfinalfewlessonswithKanchanaaftertheshowswasspentdiscussingtheperformancesandallthathadgoneintothem.Itwaswithmuchsadnessthatwepartedattheendofmyvisit,andIverymuchhopetobeabletocontinuemyBharatanatyamstudieswithKanchanainfutureyears,andperhapsonedayhavetheopportunitytoperforminIndia.

LastdancelessonwithKanchana

ReturntotheUK

I’vebeendelightedtodrawonmyexperiencesinTamilNaduinanumberofwayssincereturningtotheUK.MyBalinesedanceteacherinLondonhasworkedonanumberofprojectsinvolvingBharatanatyamandsowehaveenjoyedpractisingSouthIndiandancetogetherandexploringthemanyconnectionsinmovementbetweenBharatanatyamandBalinesechoreography.I’malsocurrentlyinvolvedintwoperformanceprojectswhichdrawdirectlyonmystudiesinChennai.I’mworkingwithaLondon‐basedcellistonadanceinterpretationoftheBrittenCelloSonatainC,whichwilldrawonbothIndianandBalinesedancestylesforaperformancelaterthisAutumn.This

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ismyfirstpieceofchoreographyandfeelslikeadaringventure,butalsofeelsmuchsupportedbymyworkwithKanchana,particularlyfromwatchingherinactionduringrehearsalsfortheMayuradanceproject.IamalsoworkingasacomposerwithdirectorKaterinaPushkinonatheatre‐in‐educationprojectsponsoredbytheBirmingham‐basedSouthAsianartsorganisation,SAMPAD.Theprojectwillbeapieceofstorytelling,basedontalesfromtheRamayanaforperformanceinschoolsacrosstheWestMidlands.Iwillbewritingandperformingallthemusicfortheplay,whichwillincludeamixtureofliveandrecordedperformancesofCarnaticflute.

IwouldliketoextendmydeepestthankstotheFinziTrustforenablingmetocarryoutthisprojectinChennai.ItwasanamazingexperiencetobefreetostudyCarnaticmusicanddancewithsuchintensityandtobeabletoimmersemyselfinsuchanamazingperformancetradition.IhaveverymuchenjoyedstayingintouchwiththeteachersandfriendsImetinChennaiandIlookforwardtoreturningtoTamilNaduassoonasIcantocontinuemystudies.

BharatanatyampostureoftheHindugodVishnu‐thefluteplayer

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