Varnajalam

Varnajalam, a unique Bharathanatyam festival, was organised by Lamps Trust and VAAK Foundation and curated by Aravind Shankar and his son Shreeraam, at M.S. Subbulakshmi Arangam, Taramani, on 27 and 28 June 2026. The festival was curated as a production of “rare and historic varnams”; also unique was the choice of artists presenting them, ranging from very senior gurus to contemporary performers.

The curator’s note placed the objectives of this festival more precisely in perspective: “Varnams occupy a unique place in the Bharatanatyam repertoire, embodying the perfect balance of nritta, nritya, and abhinaya. Varnajalam is an invitation to rediscover the great works of yesteryear composers through performance, research, and documentation, ensuring that these artistic treasures continue to inspire future generations.”

The organisers had printed fliers for each day, giving exhaustive details of each varnam including the notations and lyrics.

The two days saw eight presentations, five by the Tanjore Quartet, one by Maharaja Swati Tirunal, one by Pandanallur Meenakshisundaram Pillai and one by Kadigai Namachivaya Pulavar, all priceless gems and  some not in regular presentation today. This fact makes them more special as they are a treasure that needs to be preserved.

Day One

The first presentation was by Narthaki Nataraj, who performed the unique saptaraga-sapthatala varnam, Ninaindodi vanthen. Few compositions in the Bharatanatyam repertoire command the reverence accorded to this varnam, conceived by Sangita Kalanidhi K. Ponniah Pillai. This extraordinary masterpiece weaves together seven ragas and seven talas into a single seamless musical and choreographic design. Each sahityam is in a different raga, and the name of the raga is woven into the lyrics so beautifully that the meaning blends with the sentence. This is often described as one of the greatest compositional achievements in Bharatanatyam, exemplifying the Tanjore Quartet tradition. For dancers, musicians and connoisseurs alike, this is not merely a varnam but a monumental testament to the genius of the Tanjore composers and one of the crowning achievements of the Bharatanatyam repertoire. Narthaki has performed this piece before, and her presentation was very efficient and crisp, making for pleasant viewing.

The musicians were Usha Shivakumar (vocals), Pappu Gyandev (violin), Adyar K. Gopinath (mridangam), Medha Uduppa (flute) and Vasudevan Kesavulu, (nattuvangam). The music was a bit of a disappointment, as the quality of singing was not very good with the lyrics not clearly enunciated.

The second presentation was by Karuna Sagari, who performed Maharaja Swati Tirunal’s Dani samajendra in Todi. This is considered among the finest examples of the royal composer’s contribution to the Bharatanatyam repertoire. The heroine goes through a range of emotions — longing, hope and emotional surrender — in anticipation of her union with Lord Padmanabha. She describes these emotions to her friend using a range of metaphors, which forms the essence of this varnam. Like many of his compositions, this varnam reveals the king’s innate sophistication and classical genius. Karuna Sagari's interpretation and presentation of this great work, however, fell a little short of perfect. While there were moments of sensitivity and involvement, the performance tended to become repetitive, diminishing some of its overall impact.

The musicians were Janani Hamsini (vocals), Dorai Srinivasan (violin), Sarvesh Karthick (mridangam) and Vijay Kumar S. (nattuvangam). The music was again disappointing with the vocalising of the sanchari portions sounding strained at times.

The third performer was Swarnamalya Ganesh, who performed another ancient composition of the Tanjore Quartet, Chinnayya Pillai’s Neevanti samini in raga Kamala Manohari. The sahityam is an address by a devotee to the Lord, in which He is praised as the supreme being beyond compare. This piece is said to have been preserved through family manuscripts and oral tradition before being reconstructed in recent years. A dance scholar and a professor of dance history, Swarnamalya exhibited her deep understanding of the tradition and method of execution of these rare compositions in her presentation. She maintained the sanctity of the old style without exaggeration, either in the nritta or the abhinaya.   

The musicians were Nandini Kannan (vocals), T.R.S. Manikandan (mridangam), Charulatha Chandrasekar (veena), Gomathishankar (harmonium) and Padmasani Iyengar (nattuvangam). The music was good, and all accompanists were efficient.

The fourth and last performance of day one was by Shweta Prachande, who performed Sami ninne kori nanura, a ragamalika composition of the Tanjore Quartet. This magnificent varnam traverses eight ragas within a single dramatic framework. Only a genius could have conceptualised such a composition. Unique for its time, it portrays a heroine of remarkable confidence, dignity and emotional maturity.  It serves as the ultimate pada varnam, exploring the nayika-nayaka bhava, the longing of the devotee or heroine for Lord Brihadheeswara. This has the potential to invite dancers to explore subtle shades of character through abhinaya. The Quartet’s mastery over melody is amply showcased in this composition. This varnam is quite extensively performed across dance schools and thus carries a sense of familiarity for audiences. Inevitably inviting comparison with other interpretations, Shweta's performance could have been better.

The musicians were Janani Hamsini (vocals), B. Ananthakrishnan (violin), Kiran Pai (mridangam) and Jayashree Ramanathan (nattuvangam). Here, too, the singing could have been better as the piece truly is a masterpiece in melody.

Day Two

The first presentation was by Meenakshi Chitharanjan, who performed Intha kopamu enara in raga Todi, composed by Pandanallur Meenakshi Sundaram Pillai. Prior to the performance, Meenakshi spoke about the history of this composition. Meenakshi Sundaram Pillai composed only two varnams, both in praise of the Sethupathi Maharaja of Ramanathapuram. According to tradition, the varnams were written for his celebrated disciple, Pandanallur Jayalakshmi, to perform in the Maharaja’s court. So captivated was the ruler by her artistry that he is said to have later sought her hand in marriage and made her his queen, and she came to be known as Jayalakshmi Nachiyar, the Queen of Ramanathapuram. The companion varnam in raga Vachaspati has occasionally been performed in recent years, but this one has remained largely unheard. The theme of this varnam is simple, in that the devotee pleads with the Lord to set aside His anger towards her and shower His bounty on her. Meenakshi’s performance of this varnam was exquisite and brought out the composition’s innate beauty and appeal. Her nritta patterns were very precise, and the sahityam abhinaya was subtle without exaggeration.

The musicians were Gayatri Kamakoti (vocals), B. Ananthakrishnan (violin), Mayuram T. Viswanathan, (mridangam) and Pandanallur S. Pandian, (nattuvangam). The music was excellent, which enhanced an already beautiful piece of poetry.

The second presentation was by Priya Murle, who performed Nediki dayavachena, a rare swarajati in Sahana, composed by Ponnayya of the Tanjore Quartet. This work has been carefully reconstructed for contemporary performers, offering audiences an experience of an important yet largely forgotten composition. Unlike many familiar works, this composition features distinctive structural elements, including multiple speeds within the swara sections, demanding both musical sensitivity and choreographic imagination. This is a light varnam; the heroine is graceful, witty and emotional, a characterisation well brought out by Priya. Through the revival of this gem, the festival celebrates not only the preservation of a rare repertoire but also the continuing dialogue between historical notation, artistic research and living performance.

The musicians were Abishek Chandrasekar (vocals), B. Ananthakrishnan (violin), Sarvesh Karthik (mridangam), J.B. Sruthi Sagar (flute) and Sashirekha Balasubramanian (nattuvangam). The music wasn’t up to the mark, especially during the high-speed swara patterns; the singer struggled to keep up coherently. Priya, herself, commented at the end that it was a work in progress.

The third presentation was by Parshwanath Upadhye, who performed Sarasijanabha, an Ata tala varnam in raga Kambhoji and a composition of Vadivelu of the Tanjore Quartet. This is believed to have been created in the court of Maharaja Swati Tirunal. Dedicated to Lord Padmanabha of Tiruvananthapuram, the composition is admired for its musical design and deeply expressive choreography. It is a romantic sringara composition where the devote longs for union with Lord Padmanabha. This too is a less frequently performed varnam today but has been recognised as one of the great treasures of the Bharatanatyam repertoire. Parshwanath’s performance was breathtaking, to say the least. His footwork and precision were of the highest order, covering the stage with swift and elaborate movements.  

The musicians were Aishwarya Vidya Raghunath (vocals), Harsh Samaga (mridangam), J. B. Sruthi Sagar (flute), Charulatha Chandrasekar (veena) and Adithya P.V. (nattuvangam). The music was very good and complemented a wonderful performance.

The fourth and final presentation was by Vidya Subramanian, who performed Mamohalahiri meerudhe, in raga Khamas, a composition of Kadigai Namachivaya Pulavar, with the music composed by Subbarama Dikshitar. Namachivaya Pulavar, a 17^th century poet from Ettayapuram, has numerous works to his name. The present composition originally formed part of the dance-drama Valli Bharatham. Written in old Tamil, this composition reflects a period when poetry, music, theatre and dance flourished as an artistic tradition. The text of this composition operates as a pada-varnam or swarajati for dance. In classic Bharatanatyam traditions, such compositions usually feature the friend of a heroine pleading with the Lord to accept her love. Vidya performed this ancient piece beautifully. Interestingly, she mentioned that she had performed this piece during her arangetram more than forty years ago and said she was reviving it now. She also mentioned that the intervening years had given her the experience and maturity to truly appreciate this work.

The musicians were Janani Hamsini (vocals), B. Ananthakrishnan (violin), Kiran R. Pai (mridangam) and Vijay Kumar (nattuvangam).  The music was competent and complemented the on-stage performance.

All eight performers in their introduction acknowledged the contributions of their various gurus in the compilation of these pieces and their presentation. Thus ended the unique two-day festival of dance. It was a truly novel experience for the rasika fed on a staple diet of the margam.