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S. Janaki: The Isai Arasi who established the voice of the rural, female heroine

Дата публикации: 12-07-2026 11:34:57

Janaki amma’s voice gave contour to the heroines, their fears, their desires, their hopes and their dreams, even as Bharathiraja wrote them lion’s space on the screen

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Janaki amma’s voice gave contour to the heroines, their fears, their desires, their hopes and their dreams, even as Bharathiraja wrote them lion’s space on the screen

Updated - July 12, 2026 05:04 pm IST - Chennai

Ramya Kannan

Playback singer S. Janaki

Playback singer S. Janaki | Photo Credit: N. Sridharan

If Bharathiraja taught people how to look at villages, then it was certainly S. Janaki who taught them to listen to the women in these villages. She was the perfect acoustic accompaniment for Bharathiraja’s vast rural landscapes. There’s no scientific way of telling how this combination dressed up folklore as a living, breathing, urgent way of life through celluloid, but it would be safe to say they pulled off something there.  

Janaki amma’s voice gave contour to the heroines, their fears, their desires, their hopes and their dreams, even as Bharathiraja wrote them lion’s space on the screen. Take the classic, much-feted 16 Vayathinile and the wonderful Sendoora Poove. A young Sridevi is footloose and fancy free; she starts with a lilt, and as the melody progresses, a mild, tender eroticism creeps in as the young girl asks the breeze to carry her message, not coyly or hesitantly, but with a confidence that Janaki’s voice lends to Mayilu’s character. Like the director, Janaki amma’s singing created a safe, legitimate space for female desire. Even if they will be punished by the real world later.  

And when she sings for the women from the rural areas, Janaki made sure her voice had a timbre and grain that sat well on Illayaraja’s earthy music and Bharathiraja’s visuals. The fullness of it gave the women the freedom that some of them on dreamt of, but a few also landed. With her incredible talent not just for singing but also performance, just as her singing partner the late S.P.Balasubrahmanyam, she would pack in a hesitation or a sob, a laugh, a longing, or joy in a way that were not alien to the rural backdrop, completely in sync with it.  

In another classic Poovarasampoo Poothachu, a song that could have only come from a village, in the film Kizhakke Pogum Rail, Janaki amma’s voice oscillates between flirtation, shyness, want, hope and also the fervent appeal to the deity to make it happen, the weight of what is to come, just as a woman-child might feel in the circumstances. In Alaigal Oivathillai, set in a beachside village, Aayiram Thamarai Mottukale, she manages to bring in that tender, tentative physical intimacy in the duet along with SPB as young Radha and Karthik discover each other.  

That plausibility she brings to the song is probably what endeared Janaki to her heroines, her fans, her stars, composers, and her directors. It was not for nothing that she was called IsaiArasi (Queen of music), so well could she lend her voice to truthfully convey what any woman would feel intensely. The richness of the rural landscape we have seen in Tamil cinema owes as much to Janaki Amma as it does to Bharathiraja, both dear departed now. 

S. Janaki (1938-2026)— the voice that belonged to every State | In pictures

If music is an art that enriches the aesthetic zone, S. Janaki was the undisputed queen. Strangely, in the showbiz field, she preferred to be a commoner in her demeanour. Accessible and perhaps treating her talent and success lightly, there was a saintly aura in the way she presented herself in the public domain.

Veteran playback singer S. Janaki with singer P.B. Srinivas. During a career spanning more than six decades, she worked with successive generations of composers, beginning with T. Chalapathi Rao, who introduced her to films, and later M.D. Parthasarathy, G. Ramanathan, M.B. Srinivasan, K.V. Mahadevan and M.S. Viswanathan. Photo: Special Arrangement

S. Janaki was a versatile singer who had an equal ease with classical compositions, romantic melodies, folk songs, comic numbers, and emotionally charged duets.

Kannada film directors (from left) Bhagwan, K.S.L. Swami (Ravi), Rajan and Shivram and playback singers S. Janaki, P.B. Sreenivas, P. Susheela and Vani Jayaram being felicitated by Sri Vishvesha Theertha Swamiji of Pejawar Mutt at a function organised by Lotus Software Park and Sri Rama Seva Mandali, Chamrajpet in Bangalore on May 14, 2008.

S. Janaki, receiving an award from K. Karunakaran, Chief Minister, in Thiruvananthapuram in October 1984. She had received ten Kerala State Film Awards for Best Playback Singer during the 14-year period between 1970 and 1984. Photo: Special Arrangement

S. Janaki with singer Bala Saraswathy at a function held to felicitate them, in Hyderabad on September 8, 2011. Her career in Telugu cinema began in 1957 with filmMLA, when she sang ‘Nee Aasa Adiyaasa’ and ‘Idenandi Idenandi Bhagyanagaramu’ to Pendyala Nageshwar Rao’s music. The same year saw her record songs across languages, including Kannada and Tamil, showcasing her linguistic prowess.

S. Janaki during a stage performance with veteran singer K.J. Yesudas in Kerala. Known for her versatility, Janaki recorded over 48,000 songs in multiple languages, predominantly the South Indian languages of Kannada, Tamil, Telugu and Malayalam. Photo: Special Arrangement

When the Government of India announced the Padma awards on the eve of Republic Day in 2013, S. Janaki was chosen for the Padma Bhushan. However, she refused to accept it. She stated that she should have been given the highest civilian award, the Bharat Ratna, if the government wanted to recognize her work. She expressed that she was not interested in any awards other than the Padma awards.

Music director A.R. Rahman with playback singers Swarnalatha, Srinivas and S. Janaki performing at the 'Unity of Light' concert at Taramani in Chennai on February 21, 2003. In the Tamil film industry, she carved out a place for herself at a time when P. Susheela and several other leading singers were at the peak of their careers, and worked with renowned music directors, including K.V. Mahadevan and M.S. Viswanathan.

Janaki won the National Film Award for Best Female Playback Singer for “Senthoora Poove” from 16 Vayathinile, the debut directorial venture of Bharathiraja, who passed away recently. Her remarkable journey in Tamil cinema gathered further momentum with the rise of maestro Ilaiyaraaja, who chose her for memorable songs in his debut film Annakili (1976), a landmark in Tamil film music that completed 50 years in 2026.

Noted playback singers (from right), P.B. Srinivas, S. Janaki and S.P. Balasubramaniam, who were presented with Chi. Udayashankar Memorial Award for 2002, 2003 and 2004, respectively, seen after receiving the awards at a function in Bangalore on March 19, 2005. Janaki lent her voice to iconic songs for every renowned music composer in Kannada cinema.

S. Janaki and Dr. P. B. Sreenivas, performing a Bhajans and Ghazals benefit show, at Vani Mahal, in Chennai, on February 4, 2006, to assist the Ellen Sharma Memorial Primary School. If music is an art that enriches the aesthetic zone, Janaki was the undisputed queen.

S. Janaki with singer B.K. Sumitra. To sing so many lyrics under multiple music directors, and to gain that overwhelming affection whenever the All India Radio announcer mentioned that the song to be played was sung by Janaki, are a reflection of her longevity.

Playback singers S. Janaki and K.J. Yesudas at a function organised on the birthday of Rajya Sabha member T. Subbarami Reddy at Port Kalavani Stadium in Visakhapatnam on September 17, 2011.

S. Janaki paying homage to P.B. Sreenivas, who died at his residence. Be it solo endeavours or singing in tandem, Janaki remained unique. To hold her own space while singing with S.P. Balasubrahmanyam (SPB) and K.J. Yesudas, and to garner the respect of her peers all through her career, revealed Janaki’s dominance in her acoustic space in celluloid.

S. Janaki, right, with late Tamil director Bharathiraja, left, and renowned music director Ilayaraja, centre. Janaki won the National Film Award for Best Female Playback Singer for “Senthoora Poove” from 16 Vayathinile, the debut directorial venture of Bharathiraja. In these weeks of departures, be it Bharathiraja and K. Bhagyaraj, Janaki’s move into the mists of time, is the latest blow.

The playback singer and composer, K.P.Udayabhanu, sharing a light moment with S. Janaki in Thiruvananthapuram. Her debut in Malayalam playback remains disputed. Often Minnalppadayaali, directed by G. Vishwanath and released in 1959, is cited as her first. But according to music historians, the song Irul Moodukayo En Vaazhvil from the crime-thriller Minnunnathellam Ponnalla, released two years earlier, marked the true beginning of her Malayalam journey.

Janaki Venkataraman, wife of the then President R. Venkataraman, presenting a gift to S. Janaki at the silver jubilee celebrations of the Ganamrutha Group held in the Bharatiya Vidya Bhavan auditorium in Madras on July 2, 1989. Y.G. Parthasarathy and others are also seen in the picture.

S. Janaki during a grand felicitation and tribute to the legend Padmavibhushan Panditji Hariprasad Chaurasia celebrating his 80th birthday in Hyderabad on July 22, 2018. Janaki sang in Hindi and Sinhala too, but it was in the South Indian languages that she carved a niche.

S. Janaki singing in Mysuru at an open-air theatre organised by S. Janaki Charitable Trust. She spent part of her childhood in the then-backward textile village of Sircilla, in Telangana, in the old Karimnagar district over six decades ago. The discovery of this little-known chapter of her life has added a new emotional dimension to her bond with Telangana, making her enduring legacy even more special for the State’s people.

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Published - July 12, 2026 05:12 am IST

The Hindu

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