By Anjana
Anand
Natarajan Sigamani is a
senior violin accompanist for Bharatanatyam. Unassuming and quietly creative, he is driven by his passion
to excel. Rich in musicality, his violin accompaniment is an asset to the dance
orchestra. Bharatanatyam is indeed enriched by musicians of his calibre. This
versatile violinist believes that Bharatanatyam is as much a part of his life
as Carnatic music.
Did music run in your family?
My father Sangeeta Bhushanam Alandur
S. Natarajan was the brother of Sangita Kalanidhi Dr. S. Ramanathan. He
was a professional violinist and worked
at the Music College, Chennai and at Kalakshetra. Even as a child I observed my
father’s playing for Bharatanatyam programmes and was attracted to it. He was
my first guru and I later learnt violin from K.T. Sivaganesh who exposed me to
different fingering and bowing techniques which came in handy as an accompanist
for Bharatanatayam.
Which musicians have inspired you?
M.S. Gopalakrishnan, T.N. Krishnan, Lalgudi Jayaraman, N. Rajam
and Mangalampalli Balamuralikrishna.
Who were the artists you accompanied
early in your career?
In 1985, I started accompanying for
Prabha Nagarajan. Some of my early performances were for Udupi Lakshminarayana,
S.K. Kameswaran, M. Swaminathan, K.J. Sarasa, Vyjayanthimala Bali and Uma Anand.
Seetarama Sarma introduced me to Malavika Sarukkai for whom I played the violin
for 17 long years. My musical association with Priyadarsini Govind also goes
back several years.
I was exposed to the beautiful music of
natyacharyas like Tanjavur Kitappa Pillai, S.K. Rajaratnam Pillai and
Pandanallur Subbarayya Pillai. These experiences were milestones in my musical
journey.
The memorable productions you have been
involved in?
In 1994, I was part of the team of Jaya
Jaya Devi composed by Lalgudi G. Jayaraman and choreographed by Rhadha.
More than the performance opportunity, it was a learning experience for me to
work under the guidance of the maestro. Rhadha is also one of the senior
artists to have encouraged me.
My interaction with musical giants in Bharatanatyam
helped me to cultivate my skills. Dance also afforded freedom for my
creativity. All the dancers I have worked with to date have given me this
musical space to create and to enhance their performance. For example, when we worked
with Malavika Sarukkai on Thimakka (based on the story of inspiring
Indian environmentalist from Karnataka), I would watch her movements and
improvise on the composition to bring the scene alive. For this, I used
different bowing and fingering techniques for musical impact.
You are out of India almost six months
of the year! Any interesting
experiences during your tours?
Yes, there are many. In Baltimore, U.S.A., as a member of Malavika Sarukkai’s orchestra. I was conferred
honorary citizenship by the Mayor. I have had the honour of performing for
several visiting dignitaries, as in the case of Hillary Clinton when she came
to Delhi. While travelling with Malavika, I learnt much from discussions with
her learned mother Saroja Kamakshi.
The performance in Israel with Priyadarsini
Govind was also a memorable experience. The local crowd watched in rapt
attention. I played a raga prelude before she performed the Kathanakutoohalam
tillana, and the audience broke out in full applause.
My concerts with Alarmel Valli were
remarkable for her onstage rapport with the musicians.
Besides touring with senior dancers, I
also play for many arangetrams in the U.S.A. thanks to Bharagavi Sundararajan
of New Jersey.
In Europe and America, I find that sound
technicians at performance venues are now used to Indian music and are sensitive to our balancing needs and acoustics.
Can you mention a creative work which
you enjoyed composing music for?
Many years ago, I composed music
interludes for a 15-minute dance composition in a competition. The theme was
the dice game in the Mahabharata. The raga Darbari Kanada was used to represent
the Pandavas and Rasikapriya for the Kauravas. We used the ragas alternately
like a question and answer session. Many Bharatanatyam musicians were present
at the event, and at the end of the
performance, they gave us a standing ovation.
What forms of music inspire you?
I listen to all kinds of music,
Carnatic, Hindustani, Western classical, jazz, film music and more. Several
music lovers have introduced me to various genres of music over the years. I do
not listen to music for pleasure alone. Subconsciously, I analyse the music, its orchestration and the
way the artist presents it. In fact, I listen multiple times to every track. It helps me
to create interesting soundscapes, especially while working with
thematic pieces.
Do you
enjoy being a musician for
Bharatanatyam?
It has been truly enriching. I entered
this field with passion for Carnatic music and Bharatanatyam. As I had exposure
to Bharatanatyam from an early age, I was not caught in the dilemma of wanting
to be a ‘kutcheri artist’ or settling for Bharatanatyam! Playing for dance was my first choice
and I can say with confidence that it has been a most rewarding choice.
After a dance performance at the
Vipanchee festival, and hearing me play the violin for the bhajan Thumak
chalata Ramachandra, maestro Balamuralikrishna came up to congratulate me.
I was so thrilled. The next year, he conferred on me the Nada Kala Vipanchee
title, and it was a proud moment for me to receive the award from him with his
blessings. All these are moments to cherish.
Every dancer I played for has given me a
different insight into music. I learn something new at each performance. I have
travelled across India and to several countries abroad, and met some of the
most brilliant performers because of my decision to play the violin for
classical dance.
I must acknowledge the role
of all the dancers I have worked with, my co-artists and most important, the
technicians at performance venues who have made
art a complete experience for me.
[Sruti has a
policy of editing out salutations like
Sri, Smt, Sir, Ji, Anna, Aunty, Mama, Pandit, Ustad, Saheb and honorifics from
all our articles]
