alarmel valli
One of my most vivid memories of Indra Rajam is of his spirited spirit and his vibrant Nattuvangam at the Vienna International Festival, where I performed in 1982. The site was a magnificent, historic – and consequently, unheated church. The floor of the marble altar, on which I was dancing, and on which the musicians sat, despite the carpet, was bitterly cold. But Indramma, inspired by the enthusiastic audience and seemingly impenetrable to the fact that we were bone-chilling, provided the ecstatic, joyous Nattuvangam. This commitment and enthusiasm, even against the odds, characterized his work over the five years during which he performed Nattuvangam for me while touring the country and abroad.
I first met Indra Rajan in 1981. My mentor, Pandanallur Subbaraya Pillai, suggested to my mother after a particularly long and exhausting tour of Italy that given my busy schedule, it would be wise to find someone who could learn my repertoire. and travel with me.
Alarmer Valli. , Photo Credit: The Hindu Archives
Indra Rajan, even then, had a formidable reputation for his understanding of rhythmic intricacies and the power and clarity with which he rendered Solkattu. My mother and I had also heard that she could be a little difficult to cope with. But working with him was a pleasure. She was a perfectionist, fully committed to giving her best. He had a naughty sense of humor and I have warm memories of Indramma’s hoarse voice and ringing laughter as she tasted some of the anecdotes my mother told me.
In these days of strictly rationing rehearsals with musicians, I look up to an artist like Indra Rajan with nostalgia who, despite his vast experience, looked forward to multiple practice sessions and long rehearsals.
During these sessions, she never spared herself. If she had the slightest doubt about any of the rhythmic sequences I had choreographed, she would immediately request me, “Can you please repeat that section? I need to complete it. Her insistence on refusing to take dance lightly, internalizing the tirthanamas and honoring her own performance was truly commendable.
His apparent joy in rhythm and music found expression in what became his distinctive style of Nattuvangam – expressive, rhythmic and dynamic. When she played cymbals in a performance, one could be absolutely sure that the rhythm would be measured and unmoving without the least amount of acceleration of motion.
Indra Rajan’s wonderful rendition of Solkatus still resonates in my ears. She belonged to a unique generation of traditional artistes who are sadly passing away and without her the dance world is poor. I will miss her – this passionate artist and strong, independent woman who dared to live life on her own terms.
The author is a famous Bharatanatyam dancer.