The connection between Malavika Sarukkai and C.V. Chandrasekhar, known affectionately as Chandru anna, dates back many years. When Chandrasekhar relocated to Chennai after a prolonged absence, Sarukkai was captivated by his rich experiences and extensive dance journey. She discovered in him an artist who seamlessly blended scholarship with passion, tradition with innovation, and depth with wonder. These qualities compelled her to seek his expertise for musical compositions on dance concepts close to her heart, including ‘Sthiti-Gati,’ ‘Bird Song,’ and ‘Laya.’
Their collaborative sessions were marked by a serene, unhurried pace. Both deeply enjoyed the creative process, coaxing music into existence from the depths of Chandru anna’s vast knowledge of Carnatic and Hindustani music. He effortlessly crafted melodic phrases, jati, lyrics, and rhythms that evolved into unique compositions. These creations took shape through ongoing dialogue, sensitivity, and meticulous attention to detail, perfectly suiting the concept Sarukkai envisioned. Their mutual respect fostered dynamic discussions on dance at every stage of their interaction. His extraordinary artistic perception profoundly influenced her thinking.
Once the music was composed, Chandrasekhar granted Sarukkai complete freedom to interpret it as she saw fit. This creative liberty was something she cherished dearly. In Chandrasekhar, she found an artist with immense depth and courage, one as eager as she was to push the boundaries of Bharatanatyam. He often attended her performances with his wife, Jaya akka, and Sarukkai treasured these moments. Chandrasekhar brought a generosity of spirit to her dance life that she would never forget.
Sujatha Vijayaraghavan, another admirer of Chandrasekhar, recalls the natyacharya’s humility and how it often led people to forget they were in the presence of a legend. His sense of humor revealed his childlike nature, and informal late-night discussions were replete with interesting anecdotes, songs, jokes, and incisive analyses of the dance scene.
Vijayaraghavan’s connection with Chandrasekhar spanned more than 25 years, defined by love, reverence, and learning. He participated in Natyarangam’s first thematic festival, ‘Vandemataram,’ in 1997, performing a pudu kavithai set to his own music with his wife, Jaya. Chandrasekhar served as the convener of the Natya Sangraham camp at Thennangur for over two decades, handling all four branches of abhinaya — angika, vachika, aharya, and satvika — with remarkable skill. His easy informality made interactions with faculty members memorable and invaluable. He often challenged young dancers with new variations of traditional adavus, energetically leading them around the temple during Garuda Utsavam at Thennangur.
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Vijayaraghavan reminisces about several unforgettable moments with Chandrasekhar, such as his impromptu sancharis for Bombay Jayashri’s singing of a niraval for the line ‘Kamakshi kanchadalayathakshi.’ The final guru-sishya scene in the festival ‘Baandhava Bharatham,’ where a disciple leaves the gurukulam with a lamp while looking back tearfully at his guru, features Chandrasekhar standing with his hand raised in benediction. Chandrasekhar’s life was devoted to teaching countless disciples, embodying unwavering principles, sublime aesthetics, and incomparable grace.
Praveen Kumar, another disciple, considers Chandrasekhar more than just a guru. Meeting Chandrasekhar during a challenging time when Kumar’s father was unwell had a significant impact on his life. Initially, their association was focused on dance, but over time, Kumar became almost a part of Chandrasekhar’s family, sharing meals and travel experiences. Chandrasekhar’s multi-faceted achievements made him an inspirational personal and professional role model for Kumar.
Chandrasekhar’s attendance at performances by young artists, irrespective of the art form, demonstrated his broad appreciation and support. During classes, he would share valuable memories and anecdotes from his training years, inspiring his students. His high aesthetic values were evident in both his demeanor and artistic guidance.
Indira Kadambi also speaks highly of Chandrasekhar’s generosity and humility. A true artist, he was a source of peace, embodying affection and wisdom. His vast knowledge, shared without expectation of anything in return, motivated an entire generation of artists. Kadambi vividly recalls meeting Chandrasekhar in the early 1990s in the green room of the Mylapore Fine Arts after her performance. His insightful yet subtle criticism impacted her artistic journey profoundly.
Chandrasekhar’s connection with Kadambi’s musician-husband, T.V. Ramprasadh, led to informal music sessions at their homes, now cherished memories. He never missed their performances unless he was traveling. His generosity, childlike smile, curiosity, and kind hospitality left an indelible mark. Chandrasekhar had a keen eye for intricate artistic details in dance, music, textiles, costumes, and even home decor.
Though Chandrasekhar is no longer with us physically, his legacy lives on through his teachings, acts of kindness, and moments of selfless service. The artistic and personal lives he touched continue to carry forward his timeless vision and principles.
