Curated by senior dancer Geeta Chandran, the 18th edition of NATYA VRIKSHA features dance performances, workshop and lecture.
| Photo Credit: Special Arrangement

NATYA VRIKSHA is all set to present the 18th edition of its special event, organised each year to mark World Dance Day. It is conceived and curated by senior Bharatanatyam dancer Geeta Chandran.

“World Dance Day is a moment to pause and celebrate what dance brings into our lives, not just technique or tradition, but emotion, truth and transformation. This festival is our offering to the art, and to the young dancers who will carry it forward,” says Geeta Chandran.

What sets this festival apart is its inclusive embrace of classical, contemporary and experimental dance forms. This year’s line-up includes performances by Bharatanatyam, Kathak, Kuchipudi and Odissi artistes.

Abhinaya Nagajothy will perform Kuchipudi.
| Photo Credit:
Special Arrangement

Each day, the festival opens with a workshop ‘Movement and Dance Aesthetics’, to be conducted by dancer and choreographer, Tanusree Shankar. Over the course of two days, there will be a witty theatrical retelling of an ancient story, scripted and performed by Ramaa Bharadvaj as well as a lecture by Ashok Vajpeyi on how dance, while rooted in the present, opens portals to imagination, memory and transcendence. There will also be performances by Madhura Bhrushundi (Bharatanatyam), Dheerendra Tiwari (Kathak), Abhinaya Nagajothy (Kuchipudi) and Shashwati Garai Ghosh (Odissi).

Shashwati Garai Ghosh will perform on April 27, 7.45 p.m.
| Photo Credit:
Special Arrangement

Another key highlight is the conferment of the sixth NATYA VRIKSHA Lifetime Achievement Award to SPIC MACAY and its founder Kiran Seth, in recognition of their tireless efforts in preserving and promoting India’s cultural heritage amongst youth. “This honour is not mine alone — it belongs to every student who has sat in awe before an artiste, to every volunteer who has given their time to SPIC MACAY, and to every institution that believes in the power of the arts to shape minds and lives,” said Kiran Seth.

The World Dance Day Festival 2025 will take place on 26th and 27th April at India International Centre, New Delhi.

Prasanna Venkatraman.
| Photo Credit: RAVINDRAN R

Prasanna Venkatraman’s concert for Rasika Ranjani Sabha and Gaanapriya Foundation featured the Purandaradasa composition ‘Rama Nama Payasake’ with a pallavi that reads like a divine recipe: “To the payasam of Rama’s name, add the sugar called Krishna, and mix the ghee of Vittala’s name — and savour it”.

Taking forward this blend of devotion and music, Prasanna, along with M. Vijay (violin) and Poongulam Subramanian (mridangam), embraced the concert’s theme — ‘Kritis on Rama by Vaggeyakaras upto Tiruvarur Trinity’ — to present a melange of delectable music at R.R. Sabha’s Kamakoti Hall.

Not surprisingly, it was Anjaneya who ushered in Rama as Prasanna began with Dikshitar’s ‘Pavanatmaja’ (Nattai-Khanda Chapu), with the kalpanaswaras providing a vibrant start. ‘Maakelara vicharamu’ in Ravichandrika served as an ideal gateway to Rama’s world, with Tyagaraja’s sentiment — “What is there for me to worry about with you around?” — rendered in a serene flow. The swara exchanges at the pallavi opening saw the accompanists respond in perfect synchrony.

Evocative rendition

Prasanna’s delineation of Anandabhairavi was evocative and replete with the signature vakra phrases. ‘Rama nama payasake’ in Rupakam, with its lyrical instruction on how to prepare, serve and partake of devotional nectar, was sung in a manner that reflected its profound joy.

Dikshitar’s ‘Sriramam ravikulabdhi somam’ in Narayanagowla was an apt pick. This kriti encapsulates the Ramayana in a nutshell. Prasanna negotiated the challenging swarakalpana for the delicate raga — bearing the hues of Kedaragowla, Surutti and Kapinarayani — with elan, and Vijay proved equal to the task in his response.

“Emani pogadudhura’ in Veeravasantham, in which Tyagaraja wonders aloud, “How shall I extol you, Srirama?”, was rendered with verve, followed by snappy kalpanaswaras. Bhadrachala Ramadasa’s ‘Emayya rama’ in Kamboji-Khanda Chapu brings out the attributes of Rama, and Prasanna’s rendition was imbued with the raga’s characteristic gamakas and grandeur.

The regal aura of Atana came to the fore in Prasanna’s precursor to ‘Ela nee dayaraadhu’. The classy composition, which sees Tyagaraja at his descriptive best, was another fitting choice. The cascade of vocatives extolling Rama, the distinctive melodic appeal of the raga, and the exquisite rendition combined to provide an elevating experience.

Prasanna Venkatraman with Poongulam Subramaniam (mridangam), and M. Vijay (violin). 
| Photo Credit:
Ravindran_R

Good teamwork

The main raga of the evening was Saveri and the composition Tyagaraja’s ‘Rama Baana’, which celebrates the prowess of the divine archery that felled Ravana. Prasanna’s alapana unfurled with the raga’s natural ebb and flow, offering hints of the kriti in store. Vijay’s version mirrored that of the vocalist. After a polished presentation of the kriti, Prasanna took up the sole niraval of the recital at the anupallavi opening ‘Bhamakasapadu’. It was extensive and absorbing, and well supported by the team. The tani avartanam by Subramanian was succinct and spirited.

A couple of observations need mention. Niraval is the acme of manodharma, and a concert of this nature has scope for and merits at least two explorations. Moreover, compositions by Annamacharya and Arunachala Kavi would have enriched the canvas further. The latter’s ‘Rama Nataka Keerthanas’ offer a near-complete musical Ramayana. Oothukadu Venkata Kavi, too, has several kritis on Rama to his credit.

The concluding section comprised ‘Rama mantrava japiso’ in Jonpuri by Purandara Dasar, ‘Vaidehi sahitam’ a Dhyana sloka for the Ramayana, sung in Sahana, Shanmukhapriya and Manirangu, followed by Dikshitar’s coronation kriti ‘Mamava pattabhirama’, and Tyagaraja’s ‘Ramachandra nee daya’ in Surutti.