Trailblazer in ghatam now hears beats of success
Today, seated among legends at the National Percussion Festival in Thrissur, she smiles with grace and a quiet fire. 'Of course there was hostility,' she says. 'Percussion is seen as a male domain. But here I am, more than 50 years later.'
'Too delicate fingers'
Sukanya is the first woman to play the ghatam professionally in the Carnatic tradition. Her entry into the field wasn't easy. Even her guru, the legendary Vikku Vinayakram, was hesitant. 'He said my fingers were too delicate for the ghatam. I was 12. But by 13, I had switched from mridangam to ghatam. Within six months, I was performing in small concerts.'
But the real turning point came when she was around 26. At a reputed concert venue, the mridangam player refused to perform alongside a woman. 'I was shattered,' she recalls. 'That moment burned. But it also lit a fire in me. If doors wouldn't open, I'd build my own stage, I told myself.' And she did, boldly.
Transforming ghatam
In 1993, Sukanya shattered convention with 'Ghata Tharang', a revolutionary concept where she played six to seven ghatams tuned to different pitches. She transformed the humble, supportive ghatam into a solo powerhouse, giving it a melodic voice rarely heard before.
The very next year, she doubled down on her vision launching Stree Taal Tarang, India's first all-women percussion ensemble. It wasn't just a performance group; it was a protest in rhythm, a celebration of female artistry that dared to defy a deeply male-dominated space.
'I wanted to pull the ghatam out from the shadows, from the margins, and place it at the centre stage,' she says. And she did. Audiences across India and abroad gave her standing ovations, clapped for every intricate swara pattern. Recognition poured in. But even today, she points out, the field remains a male stronghold. 'Few women take up percussion. The opportunities are rare, recognition even rarer.'
'Art above barriers'
Her message to aspiring women percussionists is clear: 'There may still be stigma. You may be pushed aside. But you have to carve your own niche. Don't wait for a place, create it.'
Art, she believes, must rise above barriers. 'There should be no discrimination, no gender, caste, religion, or colour in art. The soul of art is humanity.'
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Economic Times
14 hours ago
- Economic Times
Malayalam star was betrayed by all the men she loved. Died all alone at 53
Agencies Malayalam star Srividya died lonely at the age of 53 Srividya, an iconic figure in South Indian cinema, captivated audiences with her grace, charisma, and emotional depth. While her presence on the silver screen evoked admiration and reverence, her personal life was marked by pain, heartbreak, and an unfulfilled longing for love. Beneath her luminous performances was a woman who yearned for sincere affection—love that she was ready to give unconditionally but tragically never received in return. Despite being cherished by fans and respected by peers, she lived a life burdened by betrayal, loneliness, and sorrow until the on July 24, 1953, in Chennai, Srividya came from a family deeply entrenched in the performing arts. Her mother, M. L. Vasanthakumari, was an acclaimed Carnatic vocalist, and her father, 'Vikatam' Krishnamurthy, was a Tamil actor. Despite her lineage suggesting a future in music, Srividya gravitated toward dance and acting. Her early exposure to classical dance helped her develop expressive facial movements and poised body language—skills that later defined her onscreen magnetism. Srividya began her cinematic journey at just 13, making her debut in the Tamil historical film Thiruvarutchelvar (1967), which featured veterans like Sivaji Ganesan, Savitri, and Gemini Ganesan. It was a modest role, but it ignited a lifelong connection with 1969, at the age of 16, Srividya entered the Malayalam film industry with the movie Chattambikkavala. She was cast opposite Sathyan, a legendary actor who was 57 at the time. Her poise, maturity, and beauty surprised many. The following year, she featured in Kumara Sambhavam, playing the celestial nymph Menaka. Her elegant dance in the song 'Maya Nadana Viharini' garnered widespread appreciation and highlighted her as an emerging her versatility and grace, Srividya swiftly became a sought-after actor in Malayalam, Tamil, and Telugu films. Filmmakers were drawn to her ability to balance glamour with gravitas, and she transitioned seamlessly from one powerful role to another, building a formidable body of work across made Srividya distinct from her contemporaries was her readiness to play characters beyond the conventional mold. While many actresses of her era pursued glamorous leads, Srividya embraced roles that were far more layered—even those where she played older women or secondary characters. Rather than chase stardom, she prioritized the depth and relevance of a like Kattathe Kilikkoodu, Ente Sooryaputhrikku, Innale, Kabooliwala, Aniyathi Pravu, Aaraam Thampuran, and Randam Bhavam featured her in motherly or supporting roles, which she portrayed with incredible emotional depth. Her performances resonated so strongly that audiences frequently remembered her more than the leads. Even on television, she left an indelible impression with her nuanced roles in various serials, maintaining her connection with the audience until her final the height of her career in the early 1970s, Srividya fell in love with Kamal Haasan, who was then a rising star. Their relationship was intense and, by many accounts, genuine. They even considered marriage. However, as Kamal's career took off, he asked Srividya to postpone their plans to tie the knot. She, unwilling to delay her dreams of building a home and family, expressed her desire to move later recalled, during an interview with Kairali TV, that Kamal had visited her home one day. Her mother advised them to wait a few more years, suggesting that both had bright futures and shouldn't rush into a decision they might regret. This advice did not sit well with Kamal, who left abruptly. Soon afterward, he married dancer Vani Ganapathy, and their once-promising relationship ended in silence. Despite the break, Kamal always remained a significant emotional figure in Srividya's her heartbreak, Srividya found comfort in her connection with filmmaker Bharathan. Their relationship, as revealed by screenwriter and Bharathan's friend John Paul on Safari TV's Charithram Enniloode, went beyond societal definitions. It was an intimate, soulful bond that didn't conform to labels like KPAC Lalitha, who eventually married Bharathan, recounted that he often visited her home just to talk to Srividya over the phone since her family disapproved of male callers. Lalitha, who worked with both, revealed that Srividya once confided her doubts about the relationship, citing Bharathan's growing mistrust. Eventually, the two parted ways. Though he later married Lalitha, Bharathan reportedly attempted to reconnect with Srividya—but she distanced herself for emotional turmoil, Srividya crossed paths with George Thomas, a film producer involved with her movie Theekkanal. He appeared attentive, caring, and aligned with her need for emotional security. Desperate to feel loved and hoping to prove to her detractors that she had moved on, she decided to marry him. Despite warnings from her mother and close friends like actor Madhu and veteran performer Manorama, she converted to Christianity and married George in Mumbai. However, Srividya's dream of domestic bliss soon turned into a nightmare. Contrary to his claims, George was not a wealthy film producer but a salaried employee appointed by a chit fund company, Star of Cochin, as a frontman for their film ventures. He had misrepresented himself entirely, using her fame for personal and financial gain. Having realized the deception, Srividya had no choice but to return to work. Offers still came her way, and her performances were consistently appreciated. However, her husband began siphoning off her earnings. Director Alleppey Ashraf once stated that George forged her signatures to access her bank accounts and depleted her if financial exploitation wasn't enough, he also abused her physically and emotionally. Rumors of his infidelity surfaced, further damaging their already crumbling marriage. The arguments between them became frequent and intense. After enduring years of pain and betrayal, Srividya left George and returned to her separation initiated a long and arduous legal battle. Because the marriage had been registered under the Christian Marriage Act, divorce proceedings were complicated. George held on to much of her property and assets, and the case dragged on for 14 years. Srividya eventually won, but the personal toll was immense. She had lost years of her life and most of her emotional compound her misery, her mother—her only close family—passed away during this time. Srividya, already devastated by her failed relationships and a bruising legal fight, now found herself utterly alone. Her relatives, sensing her vulnerability, abandoned her too. Despite all her public acclaim and cinematic triumphs, she had no one to turn to in her most difficult pained Srividya most was not the loss of money or status, but the emotional void. She had always longed for a loving partner, a child, and a peaceful home—experiences she was denied throughout her life. Her own childhood had been devoid of warmth, as her parents were locked in a loveless marriage. She had hoped to create a better life for herself, but fate seemed determined to keep happiness out of dream of settling in America to escape the scars of her past also collapsed when she was diagnosed with cancer. It was an aggressive form of the disease, and as her health deteriorated, so did her hopes. Those who cared for her during this time reported that she would often plead with doctors to end her suffering.
Indian Express
a day ago
- Indian Express
Malayalam's finest character actor's life was marred by tragedies; every man she loved, including Kamal Haasan, walked out on her; lost assets to husband's betrayal
'Unfair' might be the only word that best describes how life — and those around them — treated some people. Srividya was one of them. Renowned for her nuanced and powerful portrayals of dramatic roles, Srividya's only true quest in life was love. She deeply, sincerely wished to love and be loved. Although she was honest and transparent in her affections, those on the receiving end, unfortunately, weren't. And it was those very people, whom she showered with all the love in her heart, that hurt her the most. Despite earning as much adoration and compassion from the public as any actor of her generation could, her bleeding heart remained unhealed until her death. Yet, whenever a Malayalam cinema lover thinks of Srividya, it is almost impossible not to picture her smiling face. As graceful, gorgeous and genuine as she was, her life was marred by misfortunes. Until her passing at the age of 53 from cancer, she continued to fight various battles; and hence, it wouldn't be an exaggeration to title her life story, 'The Tragedy of the Woman Who Loved'. Born on July 24, 1953, as the daughter of renowned Carnatic singer ML Vasanthakumari and Tamil actor 'Vikatam' Krishnamoorthy, Srividya commenced her film career at the age of 13, playing a small role in Sivaji Ganesan, Savitri and Gemini Ganesan's Tamil film Thiruvarutchelvar (1967). Unlike her mother, Srividya's passion lay in dance. Having been trained from a young age, her refined facial expressions and rhythmic body language played a crucial role in establishing her as an actor. In 1969, she made her debut in Malayalam cinema, a move that would eventually define her career. At just 16, she starred opposite 57-year-old legendary actor Sathyan in Chattambikkavala. The following year, she appeared in the mythological film Kumara Sambhavam, portraying apsara Menaka. Her dance performance in the song 'Maya Nadana Viharini' was widely acclaimed, and the industry quickly recognised her as a promising talent. Offers from Malayalam, Tamil and occasionally Telugu cinema began pouring in, and Srividya rose to stardom with remarkable ease. She delivered memorable performances in Malayalam films like Chenda, Amba Ambika Ambalika, Idavazhiyile Poocha Mindaapoocha, Vilkkanundu Swapnangal, Raagam Thaanam Pallavi and Kathayariyathe. In Tamil, she made her mark in films such as Nootrukku Nooru, Velli Vizha, Karaikkal Ammaiyar, Sollathaan Ninaikkiren, Thirumalai Deivam and Apoorva Raagangal. In a career spanning over 35 years, Srividya acted in more than 800 films across the four major South Indian film industries, as well as in Bollywood. Much like the case of legendary actor Thilakan, it was filmmaker extraordinaire KG George who explored the potential of Srividya too to the fullest. In his films like Adaminte Vaariyellu, Panchavadi Palam and Irakal, she received extremely nuanced characters with massive depths, sans any commonalities between them, and Srividya delivered superlative performances, even overshadowing her co-stars at times. One of her most impressive qualities was that she never shied away from playing supporting characters. At a time when the industry was too eager to box and categorise actors, even more so than today, Srividya proudly played characters that were twice her age. Nonetheless, even when she wasn't the leading lady, the audience's eyes always wandered to find her, thanks to her impactful performances. From Kattathe Kilikkoodu, Thinkalazhcha Nalla Divasam, Ennennum Kannettante, Innale and Ente Sooryaputhrikku to Kabooliwala, Pavithram, Aniyathi Pravu, Aaraam Thampuran, Achaammakkuttiyude Achaayan, Naadan Pennum Nattu Pramaniyum, Ingane Oru Nilapakshi, Randam Bhavam, Malayali Mamanu Vanakkam and Swapnam Kondu Thulabharam, she won over Malayali hearts with her moving portrayal of supporting characters, particularly mother roles. She also appeared in several television serials, winning over audiences there as well. Even when she was at the peak of her career, her personal life was shrouded in sorrows. In her early 20s, while she was becoming one of the most prominent female talents in the South, she fell in love with a younger Kamal Haasan, who was an up-and-coming actor at that time. Probably the first serious relationship they had in their lives, Srividya and Kamal were so into each other that they even decided to get married. As he grew as a star and started getting many opportunities, Kamal urged her to wait for him, but Srividya was unwilling to delay marriage any further. This led to a rift between them, and Kamal did not even contact her for some time. One day, he came over to her house, she shared during a chat with Kairali TV, and upon seeing them, Srividya's mother suggested that they wait a few years before making any big decisions. She believed both of them had a long and successful career ahead, and warned them not to rush into marriage only to regret it later. However, Kamal was enraged hearing this and left immediately, thus ending the relationship forever. Soon, he married dancer Vani Ganapathy. 'I was deeply hurt. I felt like a failure as a woman. I kept thinking, 'What does she have that I don't?' Although we never became close friends afterwards, we always maintained a cordial relationship,' Srividya added. Nonetheless, the emotional scar that the relationship's demise caused in her wasn't small, and it led to a series of poor decisions afterwards. After that, she got into a relationship with ace filmmaker Bharathan. In an episode of Safari TV's Charithram Enniloode programme, veteran screenwriter and Bharathan's close friend John Paul revealed that the filmmaker's relationship with Srividya defied all conventions of romance ingrained in the Malayali psyche, and they both formed a deeper connection at the soul level. They also weren't, he shared, interested in reducing their bond to the four walls of marriage. In a chat with Kairali TV, legendary actor KPAC Lalitha, who eventually became Bharathan's wife, revealed that she was the hamsam in his relationship with Srividya. 'It was only to phone her that Bharathan used to come to my house. At that time, her family didn't entertain calls from men to Srividya because they knew that it would be Bharathan's. So, he would make me call her, and once Srividya came on the other end, he would take over the phone to chat with her. I was there the moment they decided to part ways as well. It happened while Srividya and I were working together on a movie. Right before the incident, she expressed to me apprehensions about the relationship's future, mentioning that Bharathan had trust issues,' she shared. However, even after their marriage, Bharathan pursued Srividya, but she never gave in, Lalitha attested. 'It took a long time for the wounds in my heart to heal,' she told Manorama Online once. 'During that time, I wished I had some comfort from anyone. As an only daughter, I didn't even have siblings to share my sorrows with.' That was when she came across George Thomas, the young man producing her movie Theekkanal. He quickly understood her likes and dislikes and began acting accordingly. For a person who yearned to be loved selflessly, George's interest in her and his actions blinded her completely. She soon decided to tie the knot with the man, who had portrayed himself as an affluent movie producer. 'I grew closer to him out of a defiant need to show those who had betrayed me that I was living well. In reality, I wasn't in love with him. It was simply an affection one could feel for a person who offered some solace to a scarred heart.' Although many people close to her, including her mother, actor-filmmaker Madhu, and veteran thespian Manorama, tried to persuade her to reconsider the decision, Srividya married George in Mumbai after being baptised. But by the time Srividya realised the truth about George Thomas, it was very late. Contrary to his claims, he wasn't rich, nor did he have any genuine interest in her. When Star of Cochin, a group that owned a chit fund company and hotel businesses, decided to get into film production, their top bosses needed a frontman. So, they entrusted the job to George, the son of a trusted staff member. In reality, he was simply a salaried employee. The realisation that she had been betrayed again shattered her. But to survive, she needed money, and Srividya decided to resume acting. Considering her potential and fame, she kept receiving good offers and adequate remuneration. However, director Alleppey Ashraf once shared, George kept seizing all the money she earned and squandered it. He apparently used to withdraw money from her account by forging her signature on cheques. She soon realised that he had no love for her and saw her only as a money-making machine. Meanwhile, she also got to know that he was having affairs with other women on the side. The two of them often had arguments over this, and George physically abused her as well, Ashraf claimed. 'He even nipped my dream of becoming a mother in the bud. He forced me to have an abortion several times. I realised he intended to avoid having another heir to my property, which would happen if a child were born,' she shared. One night, after enduring all the pain for five years and with no other option left, she took an auto to her mother's house. Her mom embraced her with open arms. With her mother by her side, Srividya decided to end her marriage with George, but that wasn't easy since they had tied the knot under the Christian Marriage Act. What followed was a long legal battle. During all that time, George had Srividya's assets. The matter even reached the Supreme Court. Finally, the verdict came in Srividya's favour, but 14 years had passed by then. Meanwhile, her mother had also passed away, leaving Srividya all alone. Even her so-called relatives turned their backs on her. More than financial losses, it was the emotional setbacks that crushed her. Her dreams of getting married, having a person loving her endlessly, embracing motherhood, and having a happy family — which she never experienced growing up as her parents were in a loveless marriage — were splintered forever. Life's sadistic habit of playing cruel jokes on her didn't end there. Smashing her dream of settling in America, Srividya was diagnosed with cancer. Her final days were heart-wrenching. Unable to bear the excruciating pain, she reportedly often begged the doctors to kill her. She passed away on October 19, 2006. Before she breathed her last, she wished to see Kamal Haasan one last time, Ashraf said. Upon learning, Kamal came rushing to meet her. He was heartbroken to see her in that condition. Their meeting was private, with just the two of them. Neither of them ever revealed what they talked about that day, but it underscored one thing: Kamal was the love of Srividya's life, and probably vice versa, too. Filmmaker Ranjith's romantic drama Thirakkatha (2008) was inspired by the life of Srividya and her relationship with Kamal. Even after her demise, she wasn't offered rest in peace, as her name often cropped up in the news as a controversy erupted over her assets. Although she had written a will entrusting everything to actor-politician KB Ganesh Kumar, outlining how to use her assets and for what — which included establishing a dance school for poor children — her relatives made a hue and cry later, saying they knew nothing of that sort. The case is still going on. Maybe she was too innocent for this devious world, or maybe the world never deserved her to begin with. Over 20 years have passed since Srividya left us, but her memories and the outstanding performances she delivered live on. Anandu Suresh is a Senior sub-editor at Indian Express Online. He specialises in Malayalam cinema, but doesn't limit himself to it and explores various aspects of the art form. He also pens a column titled Cinema Anatomy, where he delves extensively into the diverse layers and dimensions of cinema, aiming to uncover deeper meanings and foster continuous discourse. Anandu previously worked with The New Indian Express' news desk in Hyderabad, Telangana. You can follow him on Twitter @anandu_suresh_ and write (or send movie recommendations) to him at ... Read More
NDTV
5 days ago
- NDTV
Zoho Founder Reveals Skills Children Should Learn To Excel In Life
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