It goes without saying that classical imagery has always been an allegory, a work of art with great dancers — and, not trade. Padma Bhushan Dr K. Venkatalakshamma exemplified the credo, in word and deed.
More so, because, the dancer in her had much more than what it takes to be an artist, not to speak of her ‘catch-as-catch-can bonhomie.’ She took to dance when art was still a Cinderella step-child. However, with her sharp intellect, ready wit and liveliness, she stayed right at the top of her genius.
Too much respect for the natural does not mean a firm belief in the supernatural, albeit one could still believe in the super-human. It was exactly this conviction that delinked the sheer aptitude of Dr Venkatalakshamma, the grand old lady of Indian dance — or, more precisely the Mysore school, or style, of Bharatanatyam— from the rest.
Venkatalakshamma (May 29, 1906-July 1, 2002), who was born in a Banjara family, did not have a background in art. Far from it. She had to wade through a quagmire: of obstacles that were dictated by an opinionated, categorical and flimsy groundswell of ideas, and views, most prominently, the practice of untouchability, and also discrimination. But, for the little girl from Kadur, talent was a god-given gift, her core strength — and, dance, greasepaint and footlight to her life.
When she was just eight, Venkatalakshamma moved from her home-town to Mysore: the seat of the Wodeyars, whose patronage for art was tantamount to what a sponsor’s commitment to cricket is today. Her one and only mission: to study Bharatanatyam under the quintessential guidance of ‘Natya Saraswati,’ Jetty Thayamma.
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