INTERNATIONAL Women’s Day Special…

Srimathi Arun Kumar rediscovered her childhood love for traditional art after marriage and motherhood. Today, she leads a women’s Chende Mela in Mysuru.

Passionate Beats

Many women give up their passion after marriage. Some continue their interests with family support. But only a few rediscover and pursue their dreams after marriage and motherhood.

Srimathi Arun Kumar is one such woman. Her childhood fascination with traditional art not only survived marriage but flourished after she became a mother of two. For her, passion for traditional art from the coastal roots never faded with time.

Today, she is credited with pioneering a Women’s Chende Mela in Mysuru, a passion that has found its rhythm after regular practise. A multi-talented artiste, she also performs Yakshagana, acts in plays, compères programmes and practises Pranic Healing.

By B.N. Ramya

A native of Mandarthi in Udupi, Srimathi Arun Kumar grew up around Yakshagana troupes. Costumes for the Mandarthi Yakshagana Mela were often repaired or redesigned at her home and she helped with the work.

“After school, we would assist in making costumes for the Mandarthi Mela. But women were never allowed to wear them or learn the art form, as Yakshagana was considered a male bastion. I would only watch the performances at temples,” recalls Srimathi, who is now a Chende Mela artiste herself.

A Diploma holder in Electronics & Communication, Srimathi moved to Mysuru after marrying Dr. D.N. Arun Kumar, an Ayurveda Doctor residing in Vidyaranyapuram. Seeing her husband do Pranic Healing and alternative therapies, Srimathi too learnt the techniques and joined her husband in his clinic works.

Her journey back to these art forms began unexpectedly through her younger son Vishruth’s school. At Arivu School in Mysuru, the annual Arivu Habba encourages parents to present cultural programmes while their children watch.

“First year, I didn’t participate. From second year, I began learning art forms such as Veeragase, Pattada Kunita and Dollu Kunita. I always wanted to try something different,” she says.

The group performed several Dollu Kunita shows, but later reduced them due to health issues among participants.

Women’s Chende Mela

Looking for something new, Srimathi turned to Chende. “At Karavali Yakshagana Kendra in Mysuru, where my son Vishruth and I were learning Yakshagana, Divyashree Nayak used to teach Chende. I organised classes at my house,” she says.

But the effort faced hurdles. Participants gradually dropped out and the teacher later moved to Bengaluru. Another challenge was finding a place to practise. “Traditionally, learners practise by beating on the ground. But with marble flooring in houses, we had to use practice pads. The Chende produces a loud sound and wherever we practised, we were asked to vacate after a few days,” she recalls.

Just a week before Arivu Habba, they managed to get the instruments but still had no space to practise. “Finally, Raghavendra Farm near our school allowed us to practise. They tolerated the loud sound for nearly two hours every day and encouraged us,” she says.

First performance

The group performed for the first time at Arivu Habba in January 2023, with both men and women in the team. Encouraged by P.V. Adarsh Rao, they soon began performing at several events. “Five of us women, along with two or three boys, performed at various venues, including Chikka Gadiyara during Dasara. We also played at temple festivals such as the Krishna Utsava at Mysore Palace. The first-ever Chende performance atop Chamundi Hill was by our troupe in September 2023,” she says.

“Initially, we performed under the name Meghanaada Chende Balaga. Later, as the number of male members reduced, we formed our own women’s group called Sri Durgavahini Vrinda,” she adds.

The core members of the team are Srimathi, Archana Anil Hande (agriculturist and costume designer), Vanishri R. Bhat, H.A. Shree Vidya and Vinutha Karthikeyan. Others who occasionally join include Pushpa (parent of a Yakshagana student at Karavali Yakshagana Kendra), Srilakshmi (Pranic Healer), Spoorthi Dhanya (M.Com student) and Rashmi.

“Sometimes we practise continuously for a month. Otherwise, we rehearse about a week before an event. Adarsh Rao, Vishruth, M. Pratham and Pranesh also join us for some events,” she says.

Grabbing eyeballs

“Chende has become an attraction everywhere, especially when women play it,” Srimathi adds.

Explaining the ensemble, she says, “A Chende Mela includes Dolu, Chende and Tala. Dolu provides the rhythm, Chende follows it and it is called sahitya and Tala adds the melodic element. Stage performances have energetic high notes to engage the audience, while temple performances follow different talas.”

Comparing Yakshagana and temple Chende Mela, she explains that the basics are similar, but Yakshagana is faster and involves more urulike. “In Yakshagana, one person plays the Chende continuously while standing, accompanied by Maddale. In the temple Chende Mela, there are usually three to five players, so the strain is less.”

Apart from Chende performances, Srimathi also acts in plays. “After B. Jayashree, solo theatrical performance Uriyo Uyyale had not been staged for a long time. Under Rangayaana Trust’s Vikas Chandra, eight of us shared the roles and staged about 10 to 12 shows. Senior Rangayana artiste B.N. Shashikala had directed the play.” she says.

She has also played Sita in Sushreelendra Kulkarni’s dance drama Kishkindayana, acted in the science play Asmita and appeared in a NIMHANS documentary.

A family of artistes

Though there were no artistes on her parents’ side, her husband’s family has a strong artistic legacy.

“My father-in-law, Dhanya Narayan Rao, was a mridanga artiste. His uncle Shankar Dhanya, also a mridanga artiste, served as an Asthana Vidwan in the court of the Wadiyars. Another uncle, Dhanya Subbarao, presented Talamaddale on Mysore Akashvani.

One more uncle, Shivram Dhanya, a disciple of Bidaram Krishnappa along with great artistes like Pitilu Chowdiah, later taught Karnatak music in Udupi. My father-in-law’s father, Dhanya Anantha Ramaiyya, played a key role in bringing Yakshagana, the folk art of Dakshina Kannada, to the Mysore Wadiyars’ Mahasamsthana,” she says.

After marriage, her sister-in-law, Jayashree A. Rao, a Bharatanatyam Vidwat holder, encouraged her to learn dance. “I wondered whether I could start learning at 22 after marriage,” she recalls. Later, after the birth of her second son, she learnt Kathak under Vidu. Nandini Eswer for three years before a muscle tear near the knee forced her to stop.

Srimathi says her family has always supported her pursuits. “But I make sure my absence never becomes a burden at home. I finish my work first and then attend practice or events.”

School’s role

Srimathi credits Arivu School for encouraging both students and parents to pursue their interests.

Her younger son, Vishruth, who is in SSLC at Arivu School, can play nearly 20 musical instruments. “He even composed music for the play Chama Cheluve when he was in Class 8,” she says proudly. “When we were children, we had many interests but few opportunities. Through Arivu School, even parents could fulfil some of their dreams. In fact, my husband learnt Chende along with me for Arivu Habba. He also plays the flute.”

“But my elder son, Sushruth, who studied in a different school, now a pastry chef, had completed Junior in Bharatanatyam and was also good at Yoga. But after Class 10, academics took over,” she says.

Message for women

“There is nothing that women cannot do,” says Srimathi. “All we need is interest to learn. Once that is there, everything else becomes secondary.”