Notes of triumph - B. Ramadasappa

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Notes of triumph

RANJANI GOVIND

Life was not a bed of roses for nagaswaram artist B. Ramadasappa. But it was his passion for the art that spurred him on to succeed.

If your breath and blow are under control to deal with variations, any kind of kriti can be played on the nagaswaram

PHOTO: K.Murali Kumar

HIS LIFE’S BREATH: Ramadasappa with his silver nagaswaram adorned with a gold chain.

As a young boy, nagaswaram artist B. Ramadasappa would hope he got at least one meal a day. This past month, after a concert in Mumbai, the septuagenarian asked the organisers why he was being given so much money! “How can I forget my childhood?” he says as his eyes turn moist. “I am fortunate that God gave me the strength not only to wade through tough times of penury, but bestowed me with the strength to hold on to my nagaswaram to this day. To think that my hands which were denied a morsel during my growing years, are proudly receiving gold coins as awards and honours now…” says the emotional artist.

Ramdas, as he is affectionately known, lives in Bangalore. The 108-year-old house where he was born has seen a century of music, from the days of his father. One can’t miss his 10-ft long showcase that is packed with citations and awards along with his photographs with star musicians and dignitaries.

“Several newspapers have covered my concerts and have written quite a bit about me. What more are you going to write?” Ramdas wonders. Often referred to as ‘Karnataka’s Bismillah Khan,’ his unassuming nature is a virtue one instantly notices even as he expresses his gratitude to his father who was instrumental in his foraying into the world of nagaswaram. “My father used to say every musical instrument is a vadhya, but only a nagaswaram is a mangala vadhya. It is this instrument which is played at auspicious occasion, be it a wedding or a kutcheri.”

Rigorous practice

A well-known nagaswaram artist of his time, Ramdas’ father, Chikka Muniswamappa, insisted on very early morning practice. Much before sunrise, Ramdas would begin his practice, the air resonating with varnams, ragas and kritis. What did the neighbourhood have to say about the decibel levels? “This is where my father’s guidance helped me gain control over tone and volume. His lessons on subdued blowing and soft stylised touches on the swaras helped me in becoming a restrained performer. Today, when people appreciate the difference in approach while playing for temple processions, on concert platforms or at weddings, I remember my father. The control over the instrument speaks for itself.”

Varied presentation

It was more or less an unwritten law that he would continue the family profession, says Ramdas. “It isn’t easy to handle the instrument as it calls for a good deal of lung power. If I have stuck to playing my instrument, it’s only because of my passion and adoration for the sacred notes that the instrument is associated with.”

Ramdas recollects how he used to listen to recordings of Rajarathinam Pillai and Karaikuruchi Arunachalam and improve his style, even as his presentations later saw stalwarts such as Lalgudi Jayaraman and Balamuralikrishna appreciate the merge of violin, veena and mridangam in some of his concerts. His English notes and Veda inclusions in concerts have become a hit with his fans.

Stress on sahitya

Nagaswaram is made from rudrakshi tree that grows mainly in the humid Thanjavur region of Tamil Nadu. That it isn’t suited for gamaka-laden presentation is a myth that the maestro broke with his style and knowledge. He made history with his briga-oriented alapanas in rare ragas, took up kritis that laid stress on sahitya and brought in long vilamba kala sangati stretches in his pallavi.

“If your breath and blow are under control to deal with variations, any kind of kriti can be played on the nagaswaram,” says the musician, who would practise for 18 hours.

“Veena Doraiswamy Iyengar, a producer at AIR, gave me my first break when I was 22 and from then on, I have tasted success year after year.” Ramdas has received numerous awards that include the Karnataka Rajyothsava Award, Chowdiah Award, Sangeetha Nrithya Academy Award and the TTK Award that won him a silver nagaswaram. He is the asthana vidwan of the Venugopalaswamy Temple in Malleswaram, Bangalore. All his five sons play the nagaswaram.

Serious presentations for an appreciative audience apart, Ramdas feels at home at wedding concerts as the instrument is considered a mangala vadhya. “Can you imagine a wedding without a nagaswaram producing a soft Bowli, a soothing Nadanamakriya, a bubbly Manirang, an exhilarating Bilahari or a comforting Suddha Dhanyasi?” he says even as his son Govindraj points out that he is booked for two years.

Wearing his celebrity status with humility, the nagaswaram vidwan hopes more government encouragement would help in preserving a fast dwindling art form.