To Chidakash Kalalaya Centre of Art and Divinity, founded by Kalamandalam Piyal Bhattacharya, preserving traditional art and culture is paramount. Marga natya involves reconstructing the Natya Sastra's performance system to uphold ancient traditions. Bhattacharya seeks to bridge these traditions with contemporary societal concerns, exploring the theatrical language of Indian natya as described by Bharata. His research aims to revitalise nritta, geeta, and abhinaya based on the Natya Sastra. His work has earned him numerous accolades, including the SNA Award, Dr. Puru Dadheech Samman, an honorary Mahamahopadhyay title, and the Tagore National Scholarship.

Jimuta-hrdayam is an adaptation of the play Nagananda written by Sriharsha (9th century C.E.), which owes its source to the now extinct Vidyadhara Jataka. The same jataka narrative is also found in the Brhadkatha by Gunadhya.

The sutradhara unfolded the story of Jimut-hrdaya, which is an acclaimed  five-act Sanskrit drama about Bodhisattwa Jimutvahana-a prince  of divine magicians (vidyādharas) whose self-sacrifice  saves the life of a Naga prince sacrificed to Garuda for food. The invocation of Buddha in the Nandi verse, is unique in this dramatic composition.

Siva's consort Gauri plays an important role in the play, and raises the hero to life using her divine power.

Characters are envisioned and researched holistically. Director and choreographer Piyal Bhattacharya notes that humans often see the unfamiliar as dangerous, leading to the Nagas being viewed as threats. This perspective ignores their natural role in the ecosystem. Prejudices cloud our judgment, condemning those who falter without giving them a chance for redemption. The story Jimuta-hrdayam encourages us to be more aware and compassionate, not blinded by hatred like Garuda, but understanding towards all beings. This message resonated clearly with the audience.

Jimutvahana, a benevolent prince in the Grihasta stage of life, wished to serve his parents in their Vanaprastha stage, despite being betrothed to Malayavati. However, he chose to sacrifice his life to save the Nagas from Garuda, who sought revenge after Kadri, the Nagas' mother, bound Vinata, Garuda's mother. Garuda devoured the Nagas almost to extinction, but their king Vasuki offered one Naga daily to appease him. Jimutvahana, unwavering in his compassion, sacrificed himself in place of a Naga. Despite Garuda's attacks, the prince remained steadfast, revealing himself as a Bodhisattva filled with Karuna Rasa. This act highlighted the Buddhist concept of Karuna Rasa alongside Santa Rasa. Jimutvahana's supreme sacrifice led to Prajna, direct insight into the truth taught by the Buddha, showing that compassion and peace are intertwined.

Sayak Mitra was the sutradhara who sang, narrated, played the musical instrument and danced into the hearts of the audience. Nati Sreetama Chowdhury was an epitome of perfection. Inderpal Pal Singh as Jimutvahana brought home the message with a great deal of finess. Akash Mallick’s face mask as Garuda gave the audience a chill, like some of the character artists of Kathakali.

Madan Mohan Kumar and Suvendu Ghosh were Mitravasu and Sakhacuda respectively. Vriddha Chhandabani Dutta, Gauri, Pinky Mondal and Nartaki Amrita Dutta performed excellently . Kutapa (Bharata’s orchestra) artists Abhijit Ray, Seuli Chakraborty, Joy Dalal and Rick Mukherjee took us to an unknown period of time with their beautiful music.   

The presentation left a lasting impression in the minds of the audience. Piyal has specialised in multi-lingual theatre, explored the different abhinayas, which were the mainstay of this dramatic piece.

The sets used in the stage recreated the ancient period authentically. Students of Piyal have painstakingly racked their brains to make the sets for the drama. The costumes were equally good as were the different kinds of canopies. The costume of Garuda created awe.  

The Jarjara Puja, performed before the program began, added a unique dimension to the evening. Jarjara, Indra's banner, symbolizes his victory over the asuras and vighnas that threatened the stage. According to the Sastra, the puja to Jarjara should follow the worship of various gods and musical instruments (kutapa). The Natyacharya (master of the dramatic art) conducts the puja, seeking Jarjara's blessings for a successful performance and the removal of obstacles. This ritual was conducted with great elan.

Natyakala Cudamani Samman was awarded to eminent Bharatanatyam dance Padma Subrahmanyam for her contribution to the field of research on Natya Sastra by Chidakash Kalalaya, besides other Sammans to scholars of repute. Marga Utsava by Chidakash Kalalay was held at Gyan Manch in Kolkata in collaboration with Bharata Vidya Bhavan.