Balamuralikrishna

Carnatic Musicians
munirao2001
Posts: 1334
Joined: 28 Feb 2009, 11:35

Re: Balamuralikrishna

Post by munirao2001 »

If the quote of Rama Varma, the musician and desciple of BMK "he finds most neraval lines rather meaningless" is correct and true version, it is highly incorrect, not acceptable and objectionable. Neraval is one of the highly evolved part of manodharma sangita aspect of KM, next only to Raga Alapana to show case the manodharma vidwath-comprising both raga and laya gnanam. The selected line(s) for neraval is taken from the original work of the vaggeyakara and can not be termed'meaningless'. Yes, if the performer takes up the line, mindlessly, it is definitely meaningless, not otherwise.
Neraval singing has become very rare and likely to become extinct, if corrective action is not taken immediately.

Nick H
Posts: 9379
Joined: 03 Feb 2010, 02:03

Re: Balamuralikrishna

Post by Nick H »

it is highly incorrect, not acceptable and objectionable.
In other words, you disagree! ;)

But... so do I, and I am surprised at the quote.

sweetsong
Posts: 556
Joined: 29 Nov 2009, 16:48

Re: Balamuralikrishna

Post by sweetsong »

munirao2001 wrote:If the quote of Rama Varma, the musician and desciple of BMK "he finds most neraval lines rather meaningless" is correct and true version, it is highly incorrect, not acceptable and objectionable.
I hope that some people realise soon that Musicians have a right to stick to their views and don't need to model or remodel their styles according to what those 'rasikas' find acceptable or unacceptable.

munirao2001
Posts: 1334
Joined: 28 Feb 2009, 11:35

Re: Balamuralikrishna

Post by munirao2001 »

sweetsong
The style is not the problem, but doing away with the tradition is the crux of the problem and this rasikas serious misgivings and objections is related to this aspect of KM. The performer has the freedom to avoid neravals, which majority of the performers are doing. But to give reason of 'meaningless', is objectionable.

munirao2001
Posts: 1334
Joined: 28 Feb 2009, 11:35

Re: Balamuralikrishna

Post by munirao2001 »

I was extremely happy to read the news/report that APGovt/TTD has decided to confer very special honor of Life time Asthana Vidwan title ( BMK is already a TTD Asthana Vidwan). I wish that AP Govt/TTD organizes the event befitting BMK's stature, in the same manner they did for the other recepient, Lata Mangeshkar, if not better.

ragam-talam
Posts: 1896
Joined: 28 Sep 2006, 02:15

Re: Balamuralikrishna

Post by ragam-talam »

Lovely kedaram played on the viola by the maestro!

1. http://www.youtube.com/watch?v=8uz3XCIUViQ
2. http://www.youtube.com/watch?v=2n6bBH0DZgk

Accompanists:
B.Sasikumar - violin
Mavelikara Velukutti Nair - mridangam
Thripunithura Radhakrishnan - ghatam

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: Balamuralikrishna

Post by rajeshnat »

Write up of BMK in today's hindu
http://www.hindu.com/mp/2011/01/12/stor ... 290100.htm

In the photo,I can recognize the ghatam vidwan (Vikku VinAyakaram) , who is the mridangist and violinist(by any chance is that his stock violinist Annavarappu ramaswami)

anandasangeetham
Posts: 177
Joined: 06 Feb 2008, 16:24

Re: Balamuralikrishna

Post by anandasangeetham »

I think i raised this earlier too. though not a major issue but to just keep the records logical. Dr BMK had started performing at age 8 and he is 80now. He was not a performing widely inthe last few years (may be for 6 years? ) Even if he had been performing for 68 years and performing daily it would have been only 24820 concerts (add another 20 or so for leap years). Considering that he had to travel to chennai from Vijayawada by train that took almost a day he could not have perfomed on a daily basis. or he should have performed more than one concert per day. with his film commitments and overseas commitments would this have been possible?

Is my surmise correct or am i wrong some where?

If this is not worth discussing please ignore

venkatakailasam
Posts: 4170
Joined: 07 Feb 2010, 19:16

Re: Balamuralikrishna

Post by venkatakailasam »

Here is song of Dikshadar in the Ragam sauviram. This was a recording from AIR.

E'-SWARA-010-DrBalamurali Krishna-Sarasa Sauvira - Ragam sauviram

http://www.youtube.com/watch?v=62i5C1xLDb0

sarasa sauvira -Ragam sauviram Dikshadar
Pallavi
sarasa sauvira rasanadi karana -
samasta-tara pushpa vanadhipate

samashti caranam
hari brahmendradyaradhita
halasya sundaresvara murte
(madhyama kala sahityam)
guru guha bhava tara bahu tara murte
guna traya rahita Sakti sphurte

Meaning:
the one who appreciates the delectable raga sauvira; the lord of pushpavana;

Samashti Charanam:
The sundareshwara form at madurai, adored by hari, Brahama and Indra; the form that is guruguha and others; the one beyond the 3 qualities and is the form of shakti.

Kshetra - madurai - pushpavanesvara By Shri V Govidan

venkatakailasam
Posts: 4170
Joined: 07 Feb 2010, 19:16

Re: Balamuralikrishna-Guru - Shishya Thillana

Post by venkatakailasam »

Guru - Shishya Thillana:

Dr.M.Balamuralikrishna Guru - Shishya Thillana (Part One)
http://www.youtube.com/watch?v=MU00btcBdns

Dr.M.Balamuralikrishna Guru - Shishya Thillana (Part Two)
http://www.youtube.com/watch?v=F97rqISh ... re=related


venkatakailasam

venkatakailasam
Posts: 4170
Joined: 07 Feb 2010, 19:16

Re: Balamuralikrishna

Post by venkatakailasam »

E'-SWARA-022-BMK - Hariye ghathi

http://www.youtube.com/watch?v=7Mx4OUTAkaM


venkatakailasam

mohan
Posts: 2806
Joined: 03 Feb 2010, 16:52

Re: Balamuralikrishna

Post by mohan »

From the movie Hamsageethe - 1975. BMK received India's National Award for Best Male Playback singer for this film.

http://www.youtube.com/watch?v=argPFug4 ... re=related

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: Balamuralikrishna

Post by rajeshnat »

mohan wrote:From the movie Hamsageethe - 1975. BMK received India's National Award for Best Male Playback singer for this film.

http://www.youtube.com/watch?v=argPFug4 ... re=related
Mohan
I liked it . In one of the comments it is put the first voice is that of ramana murthy(May I know more about ramana murthy).The Guru does not sing swaras but the sishya sings swaras , I personally liked both ;) . Is this movie a real life story of some yesteryear vidwans

mohan
Posts: 2806
Joined: 03 Feb 2010, 16:52

Re: Balamuralikrishna

Post by mohan »

Rajesh - I was wondering who (Prof) Ramanamurthy was too as he sings well. Lovely to see quite an elaborate Carnatic rendition in a movie! I used to have the soundtrack LP from this movie. I don't think my record player works anymore however!

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Re: Balamuralikrishna

Post by rshankar »

The playback singers for the movie hamsagItE were Dr. BMK, and Smt. MLV, with lovely dancing by the kalAkshEtra-trained Smt. Jayalakshmi Easwar. The story, IIRC, is about a vidvAn, played by Sri Anant Nag, who pawns his bhairavi rAga, as well as a love story between him and a rAja nartaki.

mohan
Posts: 2806
Joined: 03 Feb 2010, 16:52

Re: Balamuralikrishna

Post by mohan »

you can watch the film in several parts on youtube

Sreeni Rajarao
Posts: 1283
Joined: 04 Feb 2010, 08:19

Re: Balamuralikrishna

Post by Sreeni Rajarao »

I thought Hamsageete, the movie was released earlier than 1975.

DVD (or VCD) was available in Bangalore - I was delighted to find one during one of my trips!

Movie was based on a novel of the same name by Ta Ra Subba Rao (known as tarAsu) a very popoular writer of his generation. Many of his stories were based in Chitradurga, the historical locale of Madakari Nayaka, Hyder Ali and Tippu Sultan.

Movie was directed by G V Iyer (who also made Shankaracharya and Madhvacharya movies in samskRita language in the later years)

I believe the character of Bhairavi Venkatasubbiah was purely fictional.

I have also wondered about Prof Ramana Murthy - I have not been able to find more information about him.

Some of the Jayadeva aStapadi-s in the movie are very melodious.

sweetsong
Posts: 556
Joined: 29 Nov 2009, 16:48

Re: Balamuralikrishna

Post by sweetsong »

Dr.M.Balamuralikrishna makes a surprises entry at the Veenavadini Music School , Perla.
http://www.youtube.com/watch?v=ilPqjN3yKHI


Hanuma Anuma
http://www.youtube.com/watch?v=RFN8winMv2U

http://www.youtube.com/watch?v=fzCh6lLG-e8


Saraguna Gaavumu-Thodi pada Varnam
http://www.youtube.com/watch?v=mGlpuTKswRE


General clippings
http://www.youtube.com/watch?v=7nAlWNlboNs

venkatakailasam
Posts: 4170
Joined: 07 Feb 2010, 19:16

Re: Balamuralikrishna

Post by venkatakailasam »

Dr. Balamurali krishna's birth day to day..
E SWARA BMK 019-okamAta--harikAmbhOji-Dr.BalaMurali Krishna

http://www.youtube.com/watch?v=wAvoG2YzFvw

cmfuser
Posts: 1
Joined: 09 Dec 2013, 06:00

Re: Balamuralikrishna

Post by cmfuser »

Dear Rasikas,

This is a request for a link to BMKji's recording of the Kharaharapriya kriti Rama nee samana

Thanks in advance,
cmfuser


Aditto
Posts: 323
Joined: 20 May 2008, 20:31

Re: Balamuralikrishna

Post by Aditto »

Last edited by Aditto on 15 Mar 2015, 18:59, edited 1 time in total.

Aditto
Posts: 323
Joined: 20 May 2008, 20:31

Re: Balamuralikrishna

Post by Aditto »


rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Re: Balamuralikrishna

Post by rajeshnat »

Did any one attend the 85th birthday celebrations of BMK
http://www.thehindu.com/features/friday ... 481511.ece


K Nagarajan
Posts: 138
Joined: 09 Jul 2015, 22:19

Re: Balamuralikrishna

Post by K Nagarajan »

Thanks for the link.

I got the experience of attending the concert in person.

Mohana raga alapana ends abruptly but even to have the concert this far and
that too in the video format is itself very great.

Thanks once again.

CRama
Posts: 2939
Joined: 18 Nov 2009, 16:58

Re: Balamuralikrishna

Post by CRama »

thanks varsha. Excellent concert and audio and video well presented.Is the rest of Mohanam available.

varsha
Posts: 1978
Joined: 24 Aug 2011, 15:06

Re: Balamuralikrishna

Post by varsha »

Unfortunately No .

Aditto
Posts: 323
Joined: 20 May 2008, 20:31

Re: Balamuralikrishna

Post by Aditto »

Varsha ji,

Do we have janani ninuvina in Reetigowla by BMK?

sweetsong
Posts: 556
Joined: 29 Nov 2009, 16:48

Re: Balamuralikrishna

Post by sweetsong »

A lecture from Doordarshan in 1989
https://www.youtube.com/watch?v=3ccGhf4Y-cw

sweetsong
Posts: 556
Joined: 29 Nov 2009, 16:48

Re: Balamuralikrishna

Post by sweetsong »


Aditto
Posts: 323
Joined: 20 May 2008, 20:31

Re: Balamuralikrishna

Post by Aditto »


Thanks a lot sweetsong. Thanks a lot :)

sweetsong
Posts: 556
Joined: 29 Nov 2009, 16:48

Re: Balamuralikrishna

Post by sweetsong »

You are welcome :)

Here is a rare video

https://www.youtube.com/watch?v=EZZhYEdpYrw

isramesh
Posts: 77
Joined: 03 Feb 2010, 10:22

Re: Balamuralikrishna

Post by isramesh »

sweetsong wrote:You are welcome :)

Here is a rare video

https://www.youtube.com/watch?v=EZZhYEdpYrw
Thanks for the rare gem. By the way YouTube link for janani ninuvuna is not working.

Vinay
Posts: 34
Joined: 16 Apr 2009, 16:06

Re: Balamuralikrishna

Post by Vinay »

isramesh wrote:
sweetsong wrote:You are welcome :)

Here is a rare video

https://www.youtube.com/watch?v=EZZhYEdpYrw
Thanks for the rare gem. By the way YouTube link for janani ninuvuna is not working.
Here you go: https://youtu.be/pMHK8GPj4FY?t=29m18s, Janani Ninnuvina as it should be sung!

sweetsong
Posts: 556
Joined: 29 Nov 2009, 16:48

Re: Balamuralikrishna

Post by sweetsong »


vsarmaiitm
Posts: 198
Joined: 18 Mar 2006, 10:35

Re: Balamuralikrishna

Post by vsarmaiitm »

The maestro's 86th birthday today. Wishing the maestro the best of health and long life
A great piece in Hamsageethe
https://youtu.be/0GlkQWZAv7g

Rsachi
Posts: 5039
Joined: 31 Aug 2009, 13:54

Re: Balamuralikrishna

Post by Rsachi »

Sir, thanks for posting this. Many of us believe it is the greatest movie made depicting the life of a Carnatic musician. Directed by G. V. iyer, based on a novel of Tara su, it shows the life and time for a Carnatic musician in old Mysore state. Anant Nag and BMK have simply excelled in the movie. This scene is the last and climactic moment. I daresay BMK has given us many a feast in Bhairavi and even better than this one in his incomparable musical career.

One turns nostalgic and feels alas, such aesthetic moments are for ever lost to us in this day and age of 8 track Dolby DTS Imax movies, and Rahmanisation of music! As Pope said, "the moving finger writes...."

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Re: Balamuralikrishna

Post by rshankar »

RSachi - you forgot Smt. MLV's lovely singing in the movie as well, and the dancing....

Rsachi
Posts: 5039
Joined: 31 Aug 2009, 13:54

Re: Balamuralikrishna

Post by Rsachi »

Yes, Ravi, of course, that young dancer who danced to MLV's singing was a girl with name Jayalakshmi Eshwar. We went and met her! She was a product of Kalakshetra and lived then in Bangalore (in 1970s).

Watch this here:
https://youtu.be/79_52-DNDTU

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Re: Balamuralikrishna

Post by rshankar »

I have watched that clip. It's interesting that they had to show the heroine winning that encounter - she sucked as a dancer!
I think Jayalakshmi Eashwar moved to New Delhi later on.
I do remember thinking that it was one oddity in an otherwise accurate historical movie - to have used a style of bharatanatyam that would not have existed during the times this movie was set in!

Rsachi
Posts: 5039
Joined: 31 Aug 2009, 13:54

Re: Balamuralikrishna

Post by Rsachi »

You're right. Everyone felt so too. But remember it is fiction, not history. There is Himadrisute also of Shyama Shastri sung in the movie, I think his compositions came to light much later than this time of history.

The competition was not WON by the local. The dancer ftom Tanjavur taunts that no one is there in that place to compete with her. The local devadasi feels taunted, dons anklets, and makes mistakes. Anant Nag, the hero of the movie, comes to her rescue. The Tanjavur dancer says that the competition was between her and the local, hinting that his stepping in to save the day was uncalled for.

The chieftain does not pronounce the winner. He honours the Tanjavur dancer first generously. He simply gives a place in his court to the local dancer and singer. This episode is to take us to the story of their love affair afterwards.
G. V. Iyer was a perfectionist. Remember he made movies of Sankara, Ramanuja, Madhva etc. also in Sanskrit.

If anything, I feel BMK has not done his very best in this movie!

Post edit: Ravi, do you think the Kalakshetra style of Bharatanatyam with its adavus was prevalent in 18th century?

RaviSri
Posts: 512
Joined: 10 Apr 2011, 11:31

Re: Balamuralikrishna

Post by RaviSri »

Remember he made movies of Sankara, Ramanuja, Madhva etc. also in Sanskrit.
Sankaracharya was made in Sanskrit, Film on Ramanuja was made in Tamil and on Madhwa in Kannada, all of course, by G.V.Iyer.
do you think the Kalakshetra style of Bharatanatyam with its adavus was prevalent in 18th century?
What Kalakshetra followed was essentially the Thanjavur style, what Rukmini Devi learnt from Pandanallur Meenakshisundaram Pillai, his son etc. The Thanjavur 'style' of Bharatanatyam was established and codified by the Quartette, disciples of Dikshitar, in the early 19th century. Pandanallur Meenakshisundaram was a grandson of one of the Quartette on the distaff side.

Rsachi
Posts: 5039
Joined: 31 Aug 2009, 13:54

Re: Balamuralikrishna

Post by Rsachi »

RaviSri,
You're right about the other movies' languages. Thanks. I rechecked just now.

I watched only Adi Shankaracharya. I couldn't lay my hands on his movies Bhagavadgita and Swami Vivekananda. Please confirm/correct my impression that those movies are in Sanskrit.

I need you to explain in detail and educate me if the dance in that video is really the old style of Bharatanatyam from early 19th century. My conversations with several Kalakshetra artistes have given me the distinct impression that the dance forms extant before Rukmini Devi/Kalakshetra were quite different and lacked in clarity of advaus, a geometric perfection in movement, unexaggerated and subtle abhinaya, and simple costumes. The musicians were also, in the past, apparently positioned at the back of the dance artiste, standing and moving around.

When Hamsageete was released, we all felt that the dance scene, although very well depicted, took liberties with the historicity of the dance forms.

By the way here are interesting details about the locations used while filming Hamsageete.

http://karnatakatravel.blogspot.in/2014 ... a.html?m=1

Also, I didn't feel comfortable with the use of Shyama Shastri's composition/s in the song. Please elucidate your thoughts.

kvjayan
Posts: 62
Joined: 05 Apr 2014, 17:08

Re: Balamuralikrishna

Post by kvjayan »

Vinay wrote:
isramesh wrote:
sweetsong wrote:You are welcome :)

Here is a rare video

https://www.youtube.com/watch?v=EZZhYEdpYrw
Thanks for the rare gem. By the way YouTube link for janani ninuvuna is not working.
Here you go: https://youtu.be/pMHK8GPj4FY?t=29m18s, Janani Ninnuvina as it should be sung!
Interestingly, this rendition of Janani Ninnuvina forms part of an 'ADITYA MUSIC Sangeetha' album entitled "Ninnu Joochi (Thyagaraja Krithis) II Dr. M. Balamuralikrishna II Thyagaraja Krithis". Other krithis rendered are, Ninnu Joochi (Sowrastra), Ninnu vina gathi (Kalyani) and Parama Paavana (Poorvi Kalyani). Just wonder how these krithis came to be labelled as Thyagaraja Krithis.

RaviSri
Posts: 512
Joined: 10 Apr 2011, 11:31

Re: Balamuralikrishna

Post by RaviSri »

G.V.Iyer's film on Vivekananda is in Hindi and on Bhagavad Gita is in Sanskrit. Both are available on youtube.
The musicians were also, in the past, apparently positioned at the back of the dance artiste, standing and moving around.
Quite true. Musicians, including the nattuvanar would move along with the dancer behind her. It was Balasaraswati'sguru Kandappa Pillai who put an end to this practice in the 1930s. He and the musicians remained seated to the right of the dancer. He also convinced Pandanallur Meenakshisundaram Pillai (Pandanallur Thata) to start doing likewise. Kandappa Pillai also was a grandson of the Tanjore Quartette like the Pandanallur Thata.
the dance forms extant before Rukmini Devi/Kalakshetra were quite different and lacked in clarity of advaus, a geometric perfection in movement, unexaggerated and subtle abhinaya, and simple costumes.
This is a baseless, audacious and mischievous statement which the Kalakshetra people are fond of making. There is no truth in it. These people lay the entire credit for the renaissance of Bharatanatyam at Rukmini Devi's door which is ridiculous. All these myths were exploded later. i'll explain tomorrow.

Rsachi
Posts: 5039
Joined: 31 Aug 2009, 13:54

Re: Balamuralikrishna

Post by Rsachi »

RaviSri, I look forward to it!

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Re: Balamuralikrishna

Post by rshankar »

RaviSri wrote: What Kalakshetra followed was essentially the Thanjavur style, what Rukmini Devi learnt from Pandanallur Meenakshisundaram Pillai, his son etc. The Thanjavur 'style' of Bharatanatyam was established and codified by the Quartette, disciples of Dikshitar, in the early 19th century. Pandanallur Meenakshisundaram was a grandson of one of the Quartette on the distaff side.
What Smt. RDA learnt from Sri Meenakshisundaram Pillai was the Pandanallur style, wasn't it?


If I understand this correctly, I think (as RaviSri has stated) that most of the styles of bharatanATyam in vogue today can trace their origin to the quartette (TQ) - however, the naTTuvanArs who succeeded them did make modifications: I am amazed that these masters, with no formal training in kinesiology, and just their very well developed sense of aesthetics made subtle but very distinct changes in the way the hands were held (e.g., rounded in the vazhuvUr style, straight and angular in the pandanallUr style etc.), the body was presented to the audience (at an angle versus straight on), and the movements/aDavus were executed (many variations here, including jumps), and created their own uniquely individual styles - the pandanallUr style, the vazhuvUr style, the tanjAvUr style (I suspect that this is the one that is most faithful to the TQ's style), the kAncIpuram style etc. I am not sure how the mELattUr style and the Mysore style evolved from the TQ's. Over time, I think two things have happened - even as many more changes came into being that differentiated the styles, dancers started to learn from teachers from different styles and began evolving blended styles, with blurred distinctions.

The kalAkshEtra style was a based on the pandanallUr style: One distinction between the pandanallUr style and the kalAkshEtra style that even lay rasikas can appreciate is the way the taTTimeTTus are executed. There are many more differences that are evident to dancers.

Vinay
Posts: 34
Joined: 16 Apr 2009, 16:06

Re: Balamuralikrishna

Post by Vinay »

kvjayan wrote: Interestingly, this rendition of Janani Ninnuvina forms part of an 'ADITYA MUSIC Sangeetha' album entitled "Ninnu Joochi (Thyagaraja Krithis) II Dr. M. Balamuralikrishna II Thyagaraja Krithis". Other krithis rendered are, Ninnu Joochi (Sowrastra), Ninnu vina gathi (Kalyani) and Parama Paavana (Poorvi Kalyani). Just wonder how these krithis came to be labelled as Thyagaraja Krithis.
You are right, I first listened to it in a cassette with those songs. Here is its inlay card:
Image

I don't know at what point during its re-release(?) it got mislabelled as "Thyagaraja Krithis". None of them is Thyagaraja's! And by the way, Ninnu Vina is one of the finest (and different from the ordinary) compositions in Kalyani. These two krithis (Janani and Ninnuvina) have given me immense joy and afterwards, immense sorrow at the thought that Subbaraya Shastri had not composed more!

RaviSri
Posts: 512
Joined: 10 Apr 2011, 11:31

Re: Balamuralikrishna

Post by RaviSri »

As rshankar has explained, all the styles in vogue in Tamilnadu are derived from the Thanjavur Quartette. There were slight differences in the adavus, each made according to the Natyacharya's own perceptions and manodharma. The various styles or bhANis that we get to hear of now (personally, I dont' consider style to be equivalent to bhANi, which has a deeper meaning and content, either n music or in dance) were named after the respective villages from which the gurus hailed, Pandanallur, Vazhuvur etc.

Rukmini Devi learnt not only from the Pandanallur Thata and his son Chokkalingam Pillai but also from Kattumannarkoil Muthukumara Pillai. What she did was to eschew the sringAra aspects of Bharatanatyam totally and emphasise the bhakti aspects. Most dancers of those days considered sringAra to be the greatest rasa as far as dance was concerned. Balasaraswati used to call this dance "cleansed" of sringAra as pApAthi nATyam (brahmin dance). In the early 1940s itself you had Bharatanatyam Kamala, the one and only Kamala, dancing into the hearts of rasiksa as Baby Kamala. She had her adavu training from Kattumannarkoil. And later learnt individual items from Vazhuvur Ramayya Pillai. The dance world recognised her as the principle artist of the "Vazhuvur bhANI", though she did not change what she had learnt from Kattumannarkoil. This itself proves that there was very little difference between the various gurus belonging to the Thanjavur bhANI.

Rukmini Devi's contribution to dance was the change she brought about in the costume worn by dancers. Earlier dancers wore the pyjama. It was Rukmini Devi who made the change to what is widely prevalent now. Plus her beautiful dance dramas.

(I'll continue)

Post Reply