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![]() TAPAS Natyotsavam 2025: A mesmerizing celebration of Bharatiya Sanskriti - Srivatsa Shandilya e-mail: vatsaphoto@gmail.com Photos: Srivatsa Shandilya, PS Prasad & others February 2, 2025 Bangalore witnessed enchanting classical dances at the first-ever TAPAS Natyotsavam (Jan 23-25 at Seva Sadan) in the city, curated by Bharatanatyam guru and artistic director of TAPAS, Mahalakshmi Ashwin. Hailing from the distinguished lineage of Kalakshetra, Chennai, Mahalakshmi Ashwin, along with her husband Ashwin Kumar Iyer - a celebrated classical lyricist - crafted a festival dedicated to celebrating and preserving Bharatiya Sanskriti. Organized by TAPAS Cultural Foundation, the annual event showcased the brilliance of senior artistes while fostering emerging talents. ![]() Reshma G The evening's highlight was the spellbinding performance by Reshma G, a Bharatanatyam and Kuchipudi dancer from Chennai, trained under eminent guru Madhavapeddi Murthy. Reshma's recital reflected the depth and grace of the classical arts, leaving the audience captivated. Her Kuchipudi performance commenced with Sivashtakam, a soulful invocation to Lord Shiva, set to ragam Mohanam and kanda chapu talam. Choreographed by Dr. Vempati Chinna Satyam, the piece, rich with lyrical devotion, praised Lord Shiva's omnipresence and austere beauty. The rendition of "Siva, Sankara, Sambhu" resonated with divine energy, setting the tone for the evening. Reshma then presented the iconic Kuchipudi Tarangam with "Marakatha mani maya chela," a composition by Oothukadu Venkata Kavi. The fluidity of her movements, symbolizing the waves of an ocean, was exemplified in her precise and awe-inspiring brass plate sequences. Set to ragam Arabhi and adi talam, the choreography by Dr. Vempati Chinna Satyam was brought to life with Reshma's poise and precision. The evening continued with Mamava sada janani, a Keertanam in praise of the universal Goddess, composed by Maharaja Swati Tirunal. In ragam Kaanada and rupaka talam, Reshma's own choreography depicted the Goddess's strength and beauty, leaving the audience enthralled by her vibrant portrayal of divine energy. In a standout performance, Reshma delivered Vedalera vayyarulu, an excerpt from the Kuchipudi dance drama Vipranarayana Charitham. Choreographed by Guru Vempati Chinna Satyam, this piece depicted Devadevi's elegance and charm as she attempts to seduce Saint Vipranarayana. Reshma's portrayal of Devadevi's peacock-like grace and tender beauty was mesmerizing, as the lilting movements in ragam Kedaragowla and talam adi brought the character vividly to life. The grand finale was a medley of selected verses from Bhaja Govindam by Adi Shankaracharya, interspersed with a dazzling Thillana in Ragamalika. Choreographed by Reshma herself, this performance was a perfect culmination of devotion and artistry, earning audience appreciation. ![]() Manasa Sriram Manasa Sriram, a senior disciple of Guru Mahalakshmi Ashwin, set the tone for a captivating day of classical dance with her Bharatanatyam recital. Beginning with the traditional Ganesha Alarippu in Tisra Jathi eka talam, she offered a graceful invocation to Lord Ganesha, ensuring a divine and auspicious start to her performance. The centerpiece of her recital was Senthil mevvum Varnam in ragam Neelambari, a poignant depiction of a virahotkanditha nayika yearning for union with Lord Muruga, the divine resident of Tiruchendur. Manasa's flawless execution brought to life the deep emotional nuances of the nayika as she pleaded with Lord Muruga, expressing her unwavering devotion and longing. Her mastery over abhinaya and the intricacies of the varnam left the audience spellbound. The recital concluded with the padam Indendhu Vachithivira in ragam Suruti, which showcased a lighthearted yet intense narrative. Through playful reproach and veiled sarcasm, Manasa portrayed a woman confronting Muvva Gopala for his flirtations with another. Her adept storytelling infused humor into the performance, leaving the audience thoroughly entertained. Manasa's maturity and dedication were evident throughout her performance, showcasing years of rigorous training and a deep understanding of Bharatanatyam's grammar and essence. ![]() Manasa's music ensemble The performance reached even greater heights with the support of a rich musical ensemble. Mahalakshmi Ashwin's impeccable nattuvangam, G. Gurumurthy's rhythmic brilliance on the mridangam, Abhishek Sridhar's mellifluous vocals, and Krishna Prasad's soulful flute accompaniment added depth and vibrancy to the recital, making it an unforgettable experience. Lekha Prasad, a senior disciple of Priya Murle, Artistic Director of Shri Silambam Academy of Fine Arts, Chennai, delivered a mesmerizing Bharatanatyam recital that showcased her depth, grace, and artistry. The recital reflected her rigorous training and the rich legacy of her illustrious guru, leaving the audience enthralled. ![]() Lekha Prasad The performance began with a traditional Alarippu set to misra chapu talam. This unique rendition, overlaid with the Thirupugazh in praise of Lord Muruga, created a divine atmosphere and set a spiritually uplifting tone for the evening. The precision of her movements and rhythm highlighted the intricate beauty of the piece. Following this was the Navasandhi Kauthuvam, a hallmark of the Thanjavur tradition. These compositions, traditionally performed during the Dhvajaarohana ceremony in temples, praise the guardians of the eight directions, with Brahma at the center. Lekha presented the Varuna Kauthuvam dedicated to the guardian of the west. In ragam Varali and talam adi, the piece embodied the grandeur of the ritualistic tradition. Special recognition must be given to the documentation of these Kauthuvams for posterity by Mahaguru, Prof. Sudharani Raghupathy, whose archival work for the Sangeet Natak Akademi continues to inspire and elevate the Silambam legacy across generations. Continuing her performance, Lekha presented a gem from the Thanjavur Quartet, the Huseni Swarajathi. This masterpiece vividly portrayed the emotional turmoil of a jealous nayika confronting her beloved nayaka. The evocative line, "Who is this woman who walks as slow and majestic as an elephant?" was brought to life with stunning abhinaya and effortless execution in ragam Huseni and talam rupaka. The recital took a lighter, playful turn with Mella mellane bandane, a Kannada composition by Saint Purandara Dasa. This piece depicted a delightful exchange between the gopis and Yashoda, as the gopis mischievously complained about Krishna's antics. Set to ragam Mohanam and talam adi, Lekha's nuanced expressions captured young Krishna's playful charm, earning applause for her brilliant abhinaya. The performance concluded with a vibrant Thillana in ragam Kapi and talam adi, a composition by Vidwan Madurai N. Krishnan. The brisk movements and intricate rhythmic patterns provided a befitting finale to an extraordinary recital. Lekha's finesse in nritta, nritya, and abhinaya throughout her performance was commendable. Her expressions were vivid, her movements precise, and her stage presence captivating. ![]() Lekha's music ensemble The accompanying orchestra added immense value to the recital. Priya Murle's brilliance on nattuvangam enhanced the essence of each piece. Aarthi Govindarajan's mellifluous singing, Kiran Pai's precise rhythms on the mridangam, and Dayakar's emotive violin accompaniment was exceptional, providing a harmonious backdrop to Lekha's captivating performance. Lekha Prasad's recital was a perfect blend of tradition, creativity, and excellence, embodying the timeless charm of Bharatanatyam and the enduring legacy of Shri Silambam Academy of Fine Arts. The three-day TAPAS Natyotsavam 2025 brought together an exquisite tapestry of performances from across India and around the globe, truly embodying its vision of celebrating India's classical arts. With a perfect blend of tradition and innovation, the festival provided a platform for both preserving heritage and fostering creativity. Marking its debut edition in Bangalore, TAPAS Natyotsavam made a lasting impression on the city's vibrant cultural scene, earning admiration from audiences and connoisseurs alike. This landmark event has set the stage for even greater achievements in the years to come, promising to become a prominent highlight on India's cultural calendar. ![]() Srivatsa Shandilya is a photojournalist and director of International Arts & Cultural Foundation, Bengaluru. |