How does one think of so many subjects? There has never been a dull moment for Kousalya Sivakumar, who has themes lined up for musical discourse. “Often ideas jump out during casual reading of journals or articles. Mention of subjects triggers interest and the quest begins. I get what I want and the preparation begins,” she expands.
In contrast, there are occasions when people approach her with suggestions. “I was visiting a school friend I had run into. Landing on the wrong floor of the building, I entered an apartment whose tenant was an old man. I hurriedly excused myself but he wanted to know who I was. When I introduced myself, he exclaimed, ‘Good, now why don’t you tackle this? I’m just giving it for print.’ It was Parasara Bhattar’s Gunaratna Kosam on Ambal.”
Forgetting about her friend, Kousalya spent time acquainting herself with the subject. “I presented it at Tattvaloka and it was well received.” Tattvaloka, in fact has consistently supported her by giving a platform and time. She cherishes the presentation she made on Sarada in the presence of the Sringeri Acharya when he camped in the city to observe Chatur Masya Vrata. “I later went to Sringeri and presented it there,” says Kousalya. Varadaraja Stavam of Appayya Dikshitar was a rare work. It describes the greatness of Sri Varadaraja of Kanchipuram. Kousalya makes special mention of the meter that gives the slokas majestic gait. Equally exciting is Ragu Veera Stavam of Neelakanta Dikshitar that eulogises the valour of Rama. “I can draw references from at least four sources – Mahaveera Vaibhavam of Swami Desikan, Kalidasa, Kamban and Ramakarna Rasayanam,” informs Kousalya.
Ramakarna Rasayanam is the work of Ramabhadra Dikshitar of Tiruvisainallur, a disciple of Neelakanta Dikshitar. In a rare instance, he describes the infant days of Sri Rama, how as a baby he was adored by everyone, etc. ‘Siva Mahima Kalika Stuti’ of Appayya Dikshitar is about the philosophy of Siva. Sivaleelarnavam and Gangavataranam, the story of Bagiratan and the coming of Ganga to the earth, gave her immense satisfaction.
Narayana Bhattar’s Sri Pada Saptati was again an unusual subject she handled. “Narayaneeyam had been completed but Bhattar was feeling restless. Guruvayurappan is said to have asked him to compose a stuti on Ambal and guided him to a place in Kerala, where Durga, Lakshmi and Saraswati are enshrined,” explains Kousalya.
Of course, Lalitha Sahasranamam has eternal appeal. She did it in Madurai and in Kolkata. Sarabeswarar and Kandar Anthati, the latter for Tamizh Isai Sangam, during the Season last year, met with good response. On the cards this year are ‘Tiruvilaiyadal Puranam’ for Tamizh Isai and ‘Radhe Shyam’ for Chennai Cultural Academy.
It has been a great learning process for Kousalya. Her knowledge of Sanskrit (she did her Master’s at Madras University) has been a big plus. “Otherwise it would be impossible to crack the slokas and often the interpretations,” she says. She has her moments of doubt and misgivings but quickly overcomes them. The Sri V. Narayana Iyer Memorial Trust’s Award for Eloquence to be given next month comes as a shot in the arm.
“Research keeps me occupied and I’m happy about the humble role I’m given to play in throwing light on exalted subjects. During an audience with Balaperiyava at Kanchipuram, he asked why I had not tackled Sauram. He also gave me books from the library. “Returning home, I was just looking at the huge volumes with trepidation without making a start. And then I got a call from a dancer, who said that she was doing a programme on Surya and I was the resource person. I had no option and plunged into the subject. I helped her and also presented ‘Surya.’ Definitely there is a divine link and that keeps me going,” she sums up.
