Love has no boundaries. While our dearest Vid V.R
Chandrashekar, a renowned Mrudangist fondly known as VRC is no longer with us,
yet his spirits are always around us. He was a known face for the combination
of jovial & serious expressions. An artist who treated everyone equally is
rare to find. Personally, my classical dance journey began by dancing to his
rhythm and today as I write about him I am reminiscing the memories which is making
me misty-eyed. Though I regret for not putting up his thoughts little earlier
yet we want his artistic views to reach the entire art fraternity.
1. Can
you please elaborate on the initial training of yours?
I was studying in 5th
standard, probably 11 years old where I began my first training under Guru
A.Rajachar. I completed my junior level training under his guidance. However I
had to discontinue due to financial problems in my family. Later, after nearly
2 years I was fortunate to meet Guru R.A Rajgopalan of Iyyengar College of
Music and continued my senior level training under him.
During 1979 “Gaana Kala Bhushana
Vidwan Guru T.A.S Mani” had started Talavadya classes. My guru made me to join
Mani sir classes. From then onwards I haven’t looked back and I am still learning
him. Even now first thing I do on Vijayadashami is that I go to my gurus home
and show him all the compositions I have made.
2. You
are one of the sought after Mrudangist player in the art field. Does the art in
you trace back to your family?
Well, I am lucky to have been born to
an artistic family. My Father is a harmonium player and my mother used to play
violin. My brother is also a vocalist and my elder sister is a Veena player.
Though we come from music background yet there was no stage to showcase all of
their talents. However I can say that art ran in my genes. My grandson is also
getting trained in vocal and my family kids (Akhil, Architha) are also getting
trained in art field.
3. How
were your initiated to perform in music & dance kutcheri.?
I was always encouraged to be an
accompanist after a certain age until my guru felt I am ready for it. I began
with small concerts like temple programs and so on. It’s only after 17 years of
my practice I was called for an International performance. Though I was
initially nervous about it yet my guru pushed me and during 1980-83 I toured
London, Scotland & Switzerland. I had enormous learnings being a troupe
member of Vid Rajakumar Bharathi, Sri
Yesudaas, Bombay sisters, Sri Vidhyabhushan, Sri Rajkumar Bharathi, Ramamani, Sri
Maharajpuram Ramachandran and many other senior music artists.
However my guru did not allow me to
be an accompanist for dance unless I did my B High grade in Dooradarshan. I was
told to do multiple music concerts only after which he would tell me when I am
supposed to play for dance. Though many opportunities came in, I trusted and
believed my guru and waited for him to give me the green signal.
4. So,
I am sure you have got the green signal. When were you allowed to work as an
accompanist for dance performances?
It’s only after thoroughly playing
for 15 years solely for music concerts I started attempting for classical
dance. After I got married I started working at Triveni Academy at Chennai as a
junior mridangam teacher. But unfortunately due to additional responsibility
and insecurities wrt job I came back to Banglore. One day my guru called me
home. I remember I drove my cycle to his place. He made me sit and told “We are going to America for a year project. You don’t have time to think. I will get you
coffee now, decide it by then”. I was perplexed, I did not know what to do.
My guru got me coffee and I just looked at his face. Smilingly he said “Start packing your bags”. This was the
day that cannot be forgotten.
Though it was my first attempt to
play for classical dance yet, I managed to clear my interview with Guru Viji
Prakash. We signed the contract of 8000Rs per month for a year. This period was
the most challenging time frame of my career. The sessions used to happen for
15-18 hours per day and first 3 months I struggled a lot to understand the
techniques of classical dance. This struggle actually helped me and as days
passed by I became more comfortable playing for classical dance.
I came back after a year and worked with Guru
Radha Sridhar alone for 2 years. After this I was been invited by multiple
dancers and then worldwide. I am happy that I was fortunate to meet senior
gurus like Smt Meena Jayadev, Smt Rangashree, Smt Viji Prakash, Sri Shankar Kandaswamy, Smt Padmini Ravi, Smt Padmini
Ramachandran, Sri Kiran Subrahmanyam, Smt Pratibha Prahlad, Smt Padmaja Suresh,
Vid Bhanumathi, Vid Narmada, Mavin Khoo, Vid Meena Jayadev, Smt Viji Prakash,
Maithili, Dr. Shridhar and many more with whom I have worked with. I specially
want to mention that I have worked with all most all the gurus at Bangalore and
with my fellow accompanist who are also my dear friends. It’s only because of
all of them I was able to learn and grow in the art field.
5. VRC
Academy is the noted organization promoting the arts. What motivated you to
start the training Centre & VRC Festival?
My journey as a teacher began with
Naada Surabhi Cultural Association during 1982-83. Later as I moved to different
location I was unable to commute which gave rise to VRC academy in the year
2005, where we started with Mridangam classes only. Later in the year 2012 we
started classical dance and music classes.
I strongly felt that it’s only the art
that has made me famous & now it is the time for me to give back to art. I
understand how dancers struggle for performances due to multiple factors. Today
my home is running and if I and my family are able to eat food, it’s only
because of dance, so I wanted to do something to promote dance. I decided to invite
dancers and also ensured I paid them (8k for dancers and 12k for festivals) too
& that is how VRC festival began.
6. Since
you are extensively engaged with classical dancers, would you like to share any
glitches or any scope of improvement for the artist’s community?
Classical dance is a multidimensional
field. It is not just enough if you are good at dancing only. As a dancer they
should be aware of music, sahitya, literature and rhythms. Many a times we see
mrudangists only prepares all the tala from head to toe for the dancers. As a
mrudangist one would definitely not mind doing it but my point is “ when will you learn?”. We should
encourage youngsters to try and make mistake. We are always there to correct
them. But dancers should themselves push to learn the rhythm. With this
intention I even started Tala classes at various venues where I was teaching
from basic and gave them multiple assignments. I was happy to see the proud
faces of the students as and when I applauded their work.
My kind request to everyone is to
give utmost importance to rhythms.
7. Is
there something you want to say?
In this technological era I am little
disappointed at the way the youngsters are progressing. At VRC academy I do
talk to students on regular basis irrespective of music or dance background and
I tell them about the great mythology and literature we possess. The idea is
that not many are aware about our vast culture and I want the upcoming
generation to be conscious and proud of our culture. I will be happy if
everyone can propagate this in their dance & music schools.
Another message to all the youngsters
is - “Your guru is your god”.
Every Vijayadashmi I request you to meet your guru and give the tambula and take their blessings. I will
do it till my last breath and I want all of you to do it. This is the only
blessings that will protect you forever.
Vid. VRC was a great person of Art
and Heart, who believed in Simple living and high thinking. He has composed a
great number of marvelous and joyful jathis, intellectual and intricate rhythm
patterns to many music and dance programs. His contribution to the art field is
immense. The artistic career and cultured life style of Vid. VRC is truly
inspirational for many generations to come.
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