A debut dance festival by Charsur, celebrating the divine feminine energy through Carnatic music, was held from October 25-27, 2024, at the Indira Ranganathan Trust, Chennai. Curated by Charsur Arts Foundation and Kala Sadhanalaya, the festival showcased captivating performances by leading and emerging artists, paying homage to the Goddess in her many forms.

 Day one

The first performance of the day featured K.R. Manaswini, who introduced the Marathi Gondhal dance to the Chennai stage with authenticity and precision. Rooted in devotion, Gondhal is a sacred folk art traditionally performed in honor of the Goddess, blending music and dance. The setting of the performance drew inspiration from the Tulsabhavani temple in Tuljapur, a significant Shakti kshetra in Marathi tradition.

Manaswini’s presentation included the traditional Marathi Gondhal dance, followed by the Bhavani Ashtakam by Adi Sankaracharya, set in ragamalika. The hymn’s lyrics, which emphasise seeking refuge in the divine mother Bhavani during times of adversity, were interpreted with clarity and expressive movements. Her portrayal of Bhavani as a compassionate protector was engaging, supported by dynamic choreography. The sancharis in the Bhavani Ashtakam added depth, showcasing Manaswini’s thoughtful approach to storytelling.

KP Nandini’s vocal rendition of the ashtakas in ragamalika was both energetic and evocative, complementing the dance effectively. Jai Bhavani, Jai Shivaji reflected the influence of Samarth Ramdas Swami’s verses, narrating the Goddess’s blessing of Chhatrapati Shivaji Maharaj with divine strength and purpose. The final piece, the traditional kakada aarti added a sense of closure, symbolising renewal and the eternal presence of the Divine Mother.

The performance stood out for its attention to detail and sincere presentation of bhakti. Manaswini’s effort in researching and adapting authentic Gondhal movements for the stage was evident. The musicians, led by KP Nandini (vocal), Guru Bharadwaj (mridangam) and Mudicondan Sowmya (veena) played a pivotal role in creating an immersive atmosphere. Overall, it was a thoughtful and engaging portrayal of the Goddess’s divine essence.

Divya Nayar & Bhavya Hari

The performance by Divya Nayar and Bhavya Hari brought alive the fierce and compassionate essence of Bhagavathy of Kodungallur , central to Kerala’s ritualistic traditions such as Padayani and Mudiyettu. The recital explored Bhadrakali’s origins as the fierce daughter of Siva, created to vanquish evil and revered as a protector of women. This thematic presentation skillfully combined narrative storytelling with fitting abhinaya, emphasising the goddess's dual nature as both a fierce warrior and a nurturing mother.

The performance opened with a narrative of a granddaughter seeking solace in her grandmother’s stories about Bhadrakali. Divya Nayar’s portrayal transitioned seamlessly from a reflective beginning to an intense depiction of Bhadrakali confronting the asura Darika.

With elements like thiraiseelai (curtains) used effectively for costume transformations, with handheld masks adding depth to the storytelling. The use of the daru varnam Mate Malayadhwaja (Khamas) provided a melodic contrast, softening the mood after Bhadrakali’s ferocity. Divya’s interpretation of the goddess's feral blood thirst turning to maternal compassion was both gripping and nuanced.

Musical support was integral to the performance’s impact. Bhavya Hari’s vocal renditions, especially the tanam, were evocative and cohesive with the dance. The ensemble of Sarvesh Kartick on mridangam, Srilakshmi on violin, and Ashwin Subramaniam on nattuvangam created a soundscape that seamlessly supported the narrative.                                  

Day two

Shreema Upadhyay & Niranjan Dindori

Shreema Upadhyay and Niranjan Dindori presented the concept of Durga as the manifestation of Shakti, delving into the many aspects of the goddess—her strength, nurturing nature, and resilience as a mother, protector, consort, and daughter. Lakshminarayan was on the percussion, and narration was by Pooja Desai.

The production opened with Durga devi durita nivarini, composed by Muthiah Bhagavatar in Navarasa Kannada raga, invoking Durga’s protective nature. This was followed by a ragam-tanam-swaram section in Varali, where Shreema depicted Durga’s form as worshipped at the Durga Parameswari Temple in Karnataka’s Karavali region. The visual sequence of Bhramari and the swarm of bees that killed demon Arunasura, along with Niranjan’s breathless humming added intensity.

The third piece was a Tamil viruttam, set in Maand, Bageshri, and Madhuvanti, capturing the tender Kumari who waits for Siva at Kanyakumari, embodying the sorrow of unfulfilled love as she discards her bangles. The folk-texture to the third segment brought a refreshing tone in a theme of Durga and was quite unexpected.

This transitioned to the joyous Bengali celebration of Durga Pooja, with Tomar Agomoni in Sindhu Bhairavi, celebrating Durga’s return to her maternal home and the larger-than-life pomp that surrounds this Intangible Cultural Heritage (UNESCO) festival. As a solo dancer, Shreema tried to bring all the elements including the traditional ‘Dhunuchi’ dance, even taking the clay burner in her mouth.

Despite the missing ‘dhaak’ accompanying the Dhunochi dance, the grand finale - depicting Durga’s slow immersion into the Ganga - was a moving tribute, symbolising her eternal cycle of arrival and return. While there were many thoughtful elements, one felt the absence of a string instrument and the strain on the vocal compensating for it.

Shijith and Parvathy & Vivek Sadasivam

The duet performance of couple Shijith and Parvathy with Vivek Sadasivam was a captivating journey into the essence of Maha Tripurasundari, blending artistry and energy. Opening with an alarippu set to Muthuswami Dikshitar’s Ardhanareeswara aradhayami satatam in Kumudakri, accompanied by students seated in four corners of the stage, reciting beeja mantras created a gripping sensation. The finale, depicting the Goddess' grace and the devotee resting with eyes closed, was profound and impactful.

Through Adi Shankaracharya’s Champeya gaurardha in ragamalika. Shijith and Parvathy portrayed the adornments of Siva and Parvati, with graceful movements and sculpturesque poses reflecting a deep sink in their sync – as a couple and as partners on stage. Followed next was the sringara-laden duet Sringaaraadi navarasaangi in Davalangam, presented in a lamp lit ambience in khandam created a tender mood but one might have felt it as over extended.

Daksha’s episode of Sati rebuking her father and burning herself. Parvathy’s birth and worship of Siva. Manmatha’s arrow that wakes up Siva and burning of Manmatha and coming back to the Sringaaraadi after a long tanam was impactful musically. The play between Takara and Lakara was an exciting choreography highlighting the tandava and lasya concept

The tillana in Poorvi by Thirugokarnam Vaidyanatha Bhagavatar with its contrasting teermanams of nritta coinciding with an action and juxtaposing them in different levels was a curious wait after each of the korvai’s.

The finale, Sree Kamalamba in Ahiri, was a serene invocation. Parvathy’s final posture and Shijith’s conclusion in Natyarambham portraying Siva-Sakti’s equilibrium kind of brought out the essence of the work with a befitting end. The presentation was made complete with Karthikeyan Ramanathan on mridangam and Easwar Ramakrishnan on violin, with harmonies by Aswathy Suresh, Simran Sivakumar, Rutuja Marne, and Lakshmipriya.

Day three

Smrithi Vishwanath & Abhilash Giri

Smrithi Vishwanath’s Saptamatrika, was a neat and direct presentation describing the seven powerful goddesses known as the Saptamatrikas. Beginning with Maheshwari, mounted on Nandi, holding the Maan, Mazhu, and Damaru. She was followed by Brahmi, seated on a swan (Hamsa), bearing a japa mala and kamandalam. Next was Kaumari, the valiant goddess holding a Vel and riding a peacock, eliminating greed (Lobha). This sequence was beautifully complemented by the verses of the Sapta matrika stotram and classical compositions, including Kamakshi kamakoti and Parashakti janani.

In the next segment, one finds Varahi on her buffalo wielding a sword and shield, Vaishnavi, with the conch and Sudarshana chakra. The scene featured Varaheem vaishnaveem in Veghavahini and verses set to Hamir Kalyani.

Finally, Aindri, on Airavata, and Chamundi, fierce and riding the lion, concluded the sequence. Verses in Kunthalavarali and Bilahari compositions, coupled with her vibrant stage presence and strong command over nritta, reflected her years of practice.

The presentation included Abhilash Giri, who composed the music and sang, Ramshankar Babu was on the mridangam, Jayashree Ramanathan on the nattuvangam and C.S. Chinmayi who played the violin.

Jyotsna Jagannathan & Brinda Manikkavachakam

Unbecoming everything that you are to become and who you are meant to be. That is how Jyotsna Jagannathan and Brinda Manikkavachakam looked at Meenakshi while they brought out the Goddess as the symbol of Sakti. Known as the warrior goddess and beloved consort of Sundareswarar, Meenakshi is a symbol of her strength and ever-flowing compassion.

Drawing on a rich array of compositions, including Swami Dayananda Saraswati’s work in Bagesri and Lalgudi Jayaraman’s Meenakshi memudam in Poorvikalyani, Madurai vazh annaiye in Hamsaragini, and Angayar kanni anandam, they infused the performance with Sanskrit verses and musical touches including Nottuswara. The story might be known to most in the audience, but it was in the small abhinaya details while swapping the characters that Jyotsna glued her audience. For example, the vatsalya in little Meenakshi as she nudges her father, to the mother making the bed of roses and her anxiety over her daughter’s third breast, the pause when Meenakshi glances at Siva for the first time reflected her involvement and precised grip over every inch of her work.

Jyotsna was accompanied by Sudarshini on nattuvangam, Sri Ganesh on mridangam, and Sukanya on violin.

The intimate amphitheater setting at the Indira Ranganathan Trust offered an ideal venue for the dance festival, fostering a close connection between the audience, musicians, and dancers. Despite the familiar themes, the festival brought a refreshing vibrancy. Live music performed by experienced artists, added a unique dimension to the presentations. The accompanists, too, infused the performances with energy and depth, elevating the thematic storytelling. The festival stood as a testament to the meticulous effort and collaboration between Charsur Arts Foundation and the artists, resulting in a thoughtfully curated and engaging experience.