Yamini Krishnamurthy, the diva of Indian classical dance passed away recently. It was difficult to see the body that moved with the grace of a gazelle lying still. Truly an icon, her presence on and off the stage was magical. She personified Sringara Lahari, her favourite composition by Lingaraj Urs in raga Neelambari, with her exquisite expressions and footwork. Her death marks the end of an era, but her spirit and style will continue to inspire dancers.
I was her first student, and during the years (1974 to 1987) that she taught me, Yamini amma, despite a hectic performance schedule, was completely focussed when in class. She never differentiated between what she danced and what she taught me, giving me everything generously and unconditionally.
My favourite memories are when she took me along with her for performances and made me do a tillana as a filler piece while she went in for a costume-change. These artistic outings taught me important lessons, including something as simple as walking briskly. I have seen her alight from the car and get into the auditorium within seconds. It wasn’t easy to keep pace with her. While watching her from the wings, I would marvel at her uncanny ability to own the stage and her commanding presence at every performance setting.
A young Yamini Krishnamurthy during a performance. | Photo Credit: The Hindu Archives
Though my guru revelled in the traditional repertoire, she brought her own to every composition. For instance, she would re-interpret even an adavu in her own distinct way. Her interpretation of a lyric found diverse expressions at different performances. She never looked outside the genre to present something new. In the process, she made learners like me realise that imagination is the key to evolve as an artiste.
She was a teacher, who did not believe in hand-holding her students. Yamini amma hardly spoke in class but conveyed enough through her silence. The students knew what she expected them to do and how it should be done.
Under her wings, we found the freedom to soar. She insisted that we engage with the artform at an individual level instead of becoming impersonators.
Rama Vaidyanathan imbibed a passion for dance from her guru. | Photo Credit: Special Arrangement
Yamini amma lived in Chanakyapuri in a government accommodation before moving to her school-cum-residence, ‘Nritya Kaustubha’, in Hauz Khas in Delhi. The city, which she began to call home, also opened up new vistas for her. Determined to popularise Bharatanatyam in Delhi, she reinvented her art to match the vibrancy of Kathak. Hence, her Bharatanatyam never had a dull moment.
For the past few years, Yamini amma’s world revolved only around dance. As her health deteriorated, she was confined to the hospital bed. One of my fond memories of visiting her in hospital was when I sang Sringara Lahari and started dancing while she lay motionless on the bed. Everyone around was stunned when Yamini amma opened her eyes and stared at me. I could also see her hand moving faintly.
This is my parting image of her because it reflected her passion for dance. I felt as if she was telling me to carry forward her legacy.
Yamini amma, I am humbled to have been able to internalise your art. I will keep you alive through my dance, and that’s a promise.
