TRIBUTE

Natyacharya Prof C.V. Chandrasekhar

Professor C.V. Chandrasekhar, affectionately known as CVC, was a towering figure in Bharatanatyam, renowned for his dedication, precision, and boundless energy.

Born on 22 May 1935 in Shimla to Rao Sahib V.A.V. Iyer and Kamala, CVC’s journey in Bharatanatyam began at an early age. CVC embarked on his dance career in 1947, at a time when male dancers were scarce. Despite facing societal challenges, he chose to pursue Bharatanatyam over a career in Botany. His professional journey began at Banaras Hindu University and later continued at M.S. University of Baroda, where he retired as the Head and Dean of the Faculty of Performing Arts in 1992. Settling in Chennai with his wife Jaya, he founded the dance school ‘Nrithyasree,’ nurturing several dancers. Their daughters, Chitra and Manjari, are also accomplished dancers in their own right.

Internationally acclaimed, CVC represented India at numerous global festivals and was actively involved in various fine arts committees. His major choreographic works include Ritu Samharam, Meghadutam, Bhoomija, Aparajita, Pancha Maha Bhoota, Aarohanam, Bhramarageet, and Kreeda, drawing inspiration from nature and his surroundings.

Professor Chandrasekhar received numerous honours, such as the Padma Bhushan, Sangita Kala Acharya from the Music Academy, and the Kalidas Samman from the Madhya Pradesh Government. 

In the crowded younger echelons of Carnatic music, Sriranjani Santhanagopalan is an unmistakable star. Her voice is sweet and crystal clear without being cloying, she showcases range without compromising on quality, and has, over the last decade, carved out a place for herself distinct from that of her father and guru, the acclaimed senior vidwan, Neyveli Santhanagopalan. She is eclectic in her musical inspirations, forthright in her opinions, and considered in her responses. From classical concerts to YouTube collaborations to Tamil film covers applauded by her fans, Sriranjani experiments with her music, ever curious to see where it takes her.

Born into a musical family, Sriranjani’s earliest memories of music involve both parents. As a child, her mother used to teach vocal music in West Mambalam. There was a cosy hideaway on the terrace where the tiny tot played, one ear always on her mother’s lessons. “Amma’s rendition of the Saveri varnam is still my favourite. She renders it with such fidelity to the gamakas”, she notes with admiration.

Neyveli Santhanagopalan was beginning to tour abroad around this time. Three-year-old Sriranjani missed him desperately and would listen to his album Tyagaraja Hrudayam on repeat. Anytime Intha sowkhyamani ne played from that album, she would burst into tears. During this period, she sent him recordings ranging from clips of herself singing to suggestions that he use amla oil on his hair, to constructive criticism à la toddler. “I had the audacity to repeat a sangati of
Nenajala norula from Marugelara and observe critically, “Appa, I don’t like how you sang that. Mottaya paadirkiye! (You’ve sung it plainly!)” She bursts into laughter.

Chintamani Raghunath Vyas was born in the obscure hamlet of Barsi, in Sholapur, Maharashtra, into a family of devout ‘kirtankaars’. His passion for music drew him to professional singing despite holding a white-collar job, and he ended up acclaimed as one of the most knowledgeable singers of our times. In addition, he was a prolific composer and a great teacher, honoured in 1987 by the Sangeet Natak Akademi award, and in 1992 with the Padma Bhushan. Interestingly, a few days before his death in 2002, the Padma awards committee contacted him for the Padma Vibhushan, but he passed away a few days later.

It was a long and arduous journey for the doyen. Music as a profession was frowned upon, though his beautiful voice excited comment as a child and he was sent to the local music guru in Barsi, Govindrao Bhatembrekar of the Kirana gharana. 

An interesting anecdote related by his eldest son, vocalist Suhas Vyas, gives a picture of the usual prevalent bias against professional singers. As a young boy, Vyas was asked by his guru (who repaired watches for a living) to deliver a watch that he had repaired. It turned out the watch belonged to a prostitute, and being seen in that vicinity, it was duly reported to the young Vyas’s family. This earned him censure and wrath from his grandmother. She wanted him to stop his musical studies. Luckily for the world of music, that did not happen, 

Another incident propelled him forward in his quest for learning music. Once being asked to sing raga Darbari by the local bureaucrat, the young Vyas sang Mian Malhar instead, as he did not know Darbari but didn’t want to admit it. After the concert, when questioned, the young Vyas tried to brazen it out and repeated, that it was raga Darbari. Being admonished by the bureaucrat was a lesson he never forgot; he did not take an audience for granted and never feared admitting ignorance.

Twin brothers - Ramnath Iyer and Gopinath Iyer, as young kids were drawn to the sounds of veena emanating from next door and had to convince their father that they would learn to play on the veena without diminishing their focus on academic grades. As dedicated disciples of veena maestros R. Pichumani Iyer and Trivandrum R. Venkataraman, their musical journey has been marked by rigorous training and a profound commitment to their art. Melbourne-based twin brothers Ramnath Iyer and Gopinath Iyer, widely recognized as the Iyer Brothers, have made a profound mark as vainikas.

Ramnath Iyer has been a resident of Melbourne since 1986, during which time he has collaborated with numerous visiting professional musicians from India, including flute maestro N. Ramani. His contributions to Indian music in Australia have been significant, serving as a peer specialist for the Australia Council since 1996. In 2002, he was an adjudicator for veena at the third biennial Indian music competition held by the National Arts Council of Singapore, reflecting his esteemed position in the global music community.

Before moving to Australia in 1993, Gopinath Iyer lived in New Zealand, where he had an extensive performing career. His notable appearances include performances on Wellington Access Radio, Victoria University of Wellington, and the NZ Academy of Bharatanatyam. In 1992, he participated in a workshop with violin maestro L. Subramaniam during the Asia Pacific Festival in Wellington, showcasing his versatility and expertise.

Since 1994, the brothers have been performing together, captivating audiences in various centres around Australia and overseas. Their notable performances include the Four Winds Festival at Bermagui in 1995, the Australian Institute of Eastern Music in Sydney in 1997 and 1999, the Port Fairy Folk Festival in 1999, and WOMADelaide in 2001. They have also performed at The Boite from 1999 to 2007, SIFAS in Singapore in 1998, the ACT National Multicultural Festival in Canberra in 1998, and the Australian National Folk Festival in 2004. Their performance projects received funding from the Australia Council and Arts Victoria in 1994, 1995, and 1997, further highlighting their impact on the cultural scene.