Navratri has been a season when devotion finds its voice in art. It isn’t anymore only about golu displays, music concerts and dance performances, but also about how artistes reshape tradition for new spaces and new audiences. In a festival that celebrates the feminine power, an all-women neo-Carnatic ensemble — Pravaham — also contributes that continuum with its digital presentation of Nava Durga Stotram — a project that blends tradition with technology. These short reels, a compiled version of approximately 12 minutes each, will be released on Vijayadasami, offering listeners all nine shlokas on their social media platform.
The experience begins with an opening verse dedicated to Devi Shailaputri, riding her bull with quiet strength. A disciple of Embar Kannan, Rangappriya Sankaranarayanan’s violin introduces the shloka in Rishabapriya, a raga chosen for its steady, grounding resonance. Janani Hamsini Narasimhan’s (a disciple of Ranjani-Gayatri) voice, which comes next, carries forth the verse with devotion and clarity, while Aswini Srinivasan’s (disciple of T.K. Murthy) mridangam provides a firm rhythmic base. For the listener, it is the first encounter with the musical essence of the goddess — simple, compelling, yet layered with depth.
Once the verse concludes, the narrative begins, as the meaning of Shailaputri’s attributes, her courage and steadfastness, are elaborated by Bharatanatyam dancer Kavya Muralidharan (disciple of Muralidharan). The violin and kanjira accompany this segment, weaving a soundscape that mirrors the goddess’s strength while inviting reflection. The shloka is sung again, now enriched with understanding and visual context.
This pattern continues for the remaining eight forms of the goddess — Brahmacharini, immersed in penance, flows through Tavamukhari (Karaharapriya’s janyam), her meditative austerity mirrored in gentle violin phrases and restrained percussion. Goddess Chandraganta, adorned with the crescent moon, shines in Chandrahasitam, (Janyam of Harikamboji) the raga’s luminous quality echoing her radiance. Goddess Kushmanda, the cosmic creator, who is said to be seated amidst the Sun, glows in Suryakantham, while Devi Skandamata’s maternal grace blossoms in Shanmukhapriya. Each raga is chosen with precision, a musical reflection of the divine traits described in the sloka.
As the journey progresses, the contrasts deepen. Goddess Katyayani, fierce and resolute, finds her voice in Shoolini, the sharpness of the raga echoing her martial energy. Devi Kalaratri, the dark, transformative force, emerges in Kalavati (Janyam of Chakravaham), mysterious, yet compelling. Goddess Mahagauri, serene and luminous, glides in Suddha Saveri, her calm captured in each note and gesture. Finally, Devi Siddhidatri, the granter of siddhis, blesses in Siddhasena (janyam of Karaharapriya), closing the musical arc with auspicious completeness.
What makes Pravaham’s presentation appealing is its thoughtful structure. By setting each composition in Adi tala the ensemble maintains a rhythmic consistency that grounds the listener, while the interplay between initial singing, narrative-dance interpretation and repetition allows for comprehension and devotion.
