Bharatanatyam exponent Vidhya Subramanian
| Photo Credit: Special Arrangement
A little girl, initiated into the world of rhythm by a doting father, realised much later in life that rhythm and movement would be the tour de force of her life.
Vidhya Subramanian, who recently received the Nrithya Choodamani award, instituted by Sri Krishna Gana Sabha, recalls how her father, N. Subramanian, an ardent mridangist, would take her to concerts, and teach her talams. “So much that misram and tisram kanakkus became a part of my vocabulary. Since we lived in the same area, we attended many performances at Krishna Gana Sabha, which was like my second home. I am very happy this honour is from the same institution where my arts education began,” says Vidhya.
As a seven year old, the storytelling power of Padma Subrahmanyam’s dance enthralled Vidhya so much that she started dance lessons in earnest at Nrithyodaya (Padma’s dance school. Owing to the distance between her home and class, Padma referred her to Swamimalai S.K. Rajarathnam Pillai.
“Besides the many aspects the Vazhuvoor style is known for, there was a magnanimity in the teaching method of Vaadhyar. He allowed each dancer to grow, making them understand the body dynamics to know what works best for them. He was so open minded that once when a certain gait from an Odissi performance crept into my movement, he was quick to notice, but finding that it suited me, allowed me to retain it,” says Vidhya.
The discipline and training honed her skills leading up to her arangetram, after which Vidhya started performing widely. “We didn’t have to go seeking performances. Organisers would come to watch the performances by young dancers and provide platforms for the talented ones.” The dancer also came under the tutelage of Kalanidhi Narayanan, who taught her the immense possibilities of abhinaya and how to tap one’s imagination to deal with the characterisation for each composition.
Vidhya was initially at a loss when she relocated to the U.S. after marriage. But soon, she got back to performing. This new phase came with its own challenges — especially because she was moving away from her comfort zone. “I was forced to look at my dance in a more objective manner, and analyse every aspect of what I was doing.”
As a young student, your body is used as a recording device to transfer the learnt adavus and repertoire in a certain way. But if one is merely repeating what has been taught, you would lose the capacity to think and question,” says Vidhya.
It is this questioning mind that honed Vidhya’s art further and helped her evolve as a dancer. She fully understands the need to rework pieces in her repertoire to suit her current sensibilities. “Performance is an emotional journey, and I enjoy the energy that you share with the audience. As an artiste, you get to be born again and again through your work”. says Vidhya.
Vidhya has had many recognitions and awards come her way – Nadanamamani from Kartik Fine Arts, Chennai, Singarmani from Sur Singar Samsad, Mumbai, and MGR Award for Excellence from The Music Academy. She has travelled across the world giving performances, lectures and conducting workshops, besides teaching many aspirants at her dance school. Life has come a full circle now, and she’s moved back to Chennai, where it all began, to chart a new course.
