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Did you say VAK Ranga Rao
who? Its quite understandable if you don’t know him. Because he is one of those
silent behind-the-scenes tour de forces behind many a scholarly book on music and cinema.
Incase you think he writes weighty treatises, no, he doesnot.
 VAK is a journalist, critic,
researcher and historian of dance, drama, music and film. A studious reader of newspapers,
notably The Hindu will definitely be familiar with his byline. One of the eminent denizens
of the city since his birth, in a zamindar family of the erstwhile Madras Presidency, he
is a remarkable repository of facts and figures. More of a reference guide for experts and
gurus, whether they are coming up with a scholarly tome or composing a dance drama, or
even making a documentary. He reviewed `Alanaati Chalana Chitram, an Encyclopedia
of Indian Cinema which won the best full book award of the Andhra Pradesh government.
Take this - when the Tirumala Tirupathi
Devastanam (TTD) came out with a volume of Taallapaaka Annamayya’s compositions
(16,000 songs), there was just one person who could and did find about 52 factual errors
in the book. There was hardly anyone who even bothered to argue or contradict him! Such is
his grasp of the music scene and facts, owed in no small measure to his collection of
42,000 gramophone records (covering the years 1904-1973) and another 10,000 LPs and EPs.
Any doubt you have in these areas, he will not only clarify them but give you factual
proof, to prove his point!
Its hardly surprising that this low-profile
but highly respected man is often consulted after a book is written. Ofcourse only by the
conscientious authors and editors, and even then, he is given credit rarely for his
efforts. While they make a neat packet for their labour (?) they get away with paying him
peanuts. Not that he is one to complain. Like others of his generation, he is a man of few
needs.
VAK, a senior citizen at 69, belongs to the
old, graceful class. Complete with steadfast principles and values, he feels strongly
about certain things. He doesnot hesitate to point out and write nasty letters if
necessary, to clear the name of a dead person (because they are not alive to defend
themselves, he says!).
An intellectual, eccentric and interesting
person, he says that `Chikku bukku rayile’ (Tamil film `Gentleman’) is a
much better choreographed dance compared to the jazzy, `noise n thunder’
`Chandralekha’ number from `Thiruda Thiruda’ film. Because there is "no
great internal logic" in the latter, is his expert opinion. How is he in a position
to comment? He is a student of reputed dance guru Padmashri Kalanidhi Narayanan. Through
his years of keen observation and understanding of the art form, he is in a better
position to interpret the bhava of a composition. So much so, renowned gurus come to him
for consultation when they take up a new piece or specialised choreography (I don’t
want to drop names – it may sound like bragging and I may offend them!). While
vocalists come to him to learn the intricacies of intonation of Telugu
kritis.
Rao has been writing for quite some time
for Sruti (the Carnatic music magazine), Indian Review of Books, The Hindu and
occasionally for Indian Express. Earlier he was a columnist with Screen (Sounds of Music)
for 2 years.
As you get up to say goodbye, he says
"Wait, I have made a sweet, try some." It looks like custard, yellow and pink.
But who cares, it tastes good!
Padma Subiah
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