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Feet on Earth Festival 2025
- Vyshnavi Korlakunta
e-mail: vyshnavikorlakunta@gmail.com
Photos: JBA studios

February 4, 2025

The Feet on Earth Festival 2025, hosted on January 18 and 19 at the sprawling and historic Hyderabad Public School, Begumpet, delivered an immersive experience that skillfully combined art, history, and ecology. With 'Vriksha' (Tree) as its central motif, the festival curated by Pujita Krishna explored the symbiotic relationship between humans and nature by showcasing a harmonious blend of storytelling, dance, music, and art. Each carefully selected performance and participatory event resonated with the theme, making this edition a standout in its nuanced approach to contextualizing dance and art within the framework of ecology. The historic Shaheen as stage, nestled amidst ancient trees, added a magical touch to the proceedings.

Day One: Introspection through Art

Maya Dance Company
'Shalabanjika Kreeda' by Maya Dance Company

The festival opened with 'Shalabhanjika Kreeda' by the Maya Dance Company, a participatory reimagination of an ancient tradition associated with the Shalabhanjika, a symbol of fertility, life, and abundance. The performance began with young dancers in vibrant costumes carrying flower baskets, gracefully recreating the beauty of nature through dance. The group choreographed intricate patterns, mimicking the motifs of flowers, trees, and vines. The dancers embodied the spirit of Shalabhanjikas, drawing inspiration from Sanskrit texts where they are depicted as nature spirits entwined with Sala and Ashoka trees.

The second half of Shalabanjika Kreeda transformed into a lively participatory event where the audience was invited to join in, throwing and exchanging flowers while tapping their feet to the melodious music. The sight of children and adults alike engaging in this playful act created an atmosphere of collective joy and inclusivity. While lighthearted and engaging, this performance also subtly emphasized the need to reconnect with nature in simple yet profound ways.

Pujita Krishna
'Vriksha Sakhi' by Pujita Krishna

Next came 'Vriksha Sakhi,' a solo production by Pujita Krishna, which took the audience on a journey that was equal parts evocative and intellectual. Inspired by a Kannada folktale, the performance revolved around Pushpavati, a girl gifted to transform into a tree but trapped as a half-woman, half-tree by another woman's jealousy. Pujita's seamless blend of Sanskrit and English lent an air of timelessness to the storytelling, while her nuanced abhinaya and emotive depth made the character of Pushpavati heartbreakingly real.

What elevated the production was its layered narrative structure, weaving in concepts like Dohadas (a tree's longing for association with a woman) and the spiritual sentience of trees. The stage design was minimal yet impactful, with props cleverly used for rapid character transitions, allowing Pujita to inhabit multiple roles effortlessly. The music score, shifting to match the emotions of each scene, complemented the narrative perfectly. The performance exemplified how a solo production can attain remarkable scale, profound depth, and engaging narrative, leaving the audience deeply moved.

Mesma Belsaré
Mesma Belsaré
Maya Kulkarni
Maya Kulkarni

The evening concluded with 'Shilpanatanam,' a new movement vocabulary conceived by Dr. Maya Kulkarni. It came alive in a series of four meticulously choreographed pieces performed by Mesma Belsaré under Maya's artistic direction. Each piece was a testament to the style's ability to translate static ideas into dynamic, living art:
  1. Pada Bedhas and Ganesha Vandana: This foundational piece established the evening's tone, grounding the audience in the Natya Shastra's technical precision while offering an engaging invocation to Ganesha. The fluid yet intricate movements demonstrated how Shilpanatanam retains the rigor of Bharatiya Sastriya Nritya while embracing innovation.

  2. Narasimha Kavacham: This excerpt showcased the gripping tale of Hiranyakashipu and Narasimha. What set this piece apart was the sheer theatricality and attention to detail. Mesma's portrayal of Hiranyakashipu - terrified and frozen at the sight of Narasimha - was so visceral that the audience collectively held its breath. The precision in depicting Narasimha's ferocity, Hiranyakashipu's terror, and the climactic slaying scene was nothing short of electrifying. The piece exemplified how Shilpanatanam marries narrative depth with physical intensity, making even puranic tales accessible and impactful.

  3. Sayankale from Krishna Karnamrutam: This piece painted an evocative picture of Vrindavan at dusk. Through delicate abhinaya and sweeping movements, Mesma brought to life the rustling trees, blooming flowers, Krishna's chariot, and the tranquil hues of twilight. The imagery was so vivid that it felt as though the audience had been transported to Vrindavan itself. The interplay of rhythm and movement perfectly captured the mood of nature winding down for the evening.

  4. Ardhanareeshwara Stotram: In a departure from typical depictions, this piece reimagined the union of Shiva and Parvati as their cosmic wedding. The inclusion of animals, Ganas, and celestial beings added richness to the storytelling, culminating in the concept of Hiranyagarbha, the golden womb symbolizing cosmic creation. Mesma's portrayal of the interplay between masculine and feminine energies, and the eventual merging into a singular cosmic entity, was profound.

The innovation of Shilpanatanam lies in its ability to transform the static into the dynamic and the abstract into the tangible. The portrayal of animals - fluid yet lifelike - was particularly striking, showcasing the style's ability to replicate the essence of natural elements through the human form. Even a layperson in the audience could identify each creature, a testament to the precision of choreography and performance.

Maya Kulkarni's vision, combined with Mesma Belsaré's exceptional theatrical and physical abilities, transported the audience into a realm where movement, narrative, and visual art converged seamlessly. It was 'Mesmerising Mesma in Maya's Magic.'

The first day left the audience contemplative, exploring the sentient nature of trees and humanity's role in nurturing, respecting, and understanding their importance.

Day Two: Enchantment and Celebration
Tree Walk led by Kobita Das Kolli
Tree Walk led by Kobita Das Kolli


Pallavi Verma
Radish

The second day opened with a Tree Walk, led by Kobita Das Kolli, whose storytelling brought the ancient trees of HPS to life. Participants, particularly children, were captivated by the tales of the Baobab and Bakula trees, learning about their cultural, medicinal, and ecological significance. The walk concluded with 'Radish,' an experiential theatrical movement piece by Pallavi Verma, founder of Kriti Stories. Performed under the tranquil Bakula tree, the 14-minute performance portrayed the journey of a displaced plant, exploring themes of identity, belonging, and resilience. Her minimalistic costume, twigs-painted face, and fluid movements under the Bakula tree created an atmosphere of quiet reflection. It left the audience with questions lingering in their minds - what does it mean to belong? Can we ever restore what is lost when displacement occurs? Radish was a reflective and hauntingly beautiful testament to the artistic potential of experiential theatre.

Urtti Kott Patt by Kudiya tribe
Urtti Kott Patt by Kudiya tribe

The evening's performances began with Urtti Kott Patt - songs of the forest performed by the Kudiya artists from Coorg, Karnataka. Introduced by the renowned visual anthropologist Dr. V. Sreenivasamurthy, the performance was a window into the heart of the forest. The tribal songs in the Kodava language led by Sharada reflected the Kudiyas' deeply harmonious relationship with nature. The simple yet elegant dance movements by Jyothi, Sowmya and Chashmita, accompanied by the rhythmic beats of the Dudi instrument with circular movements reflected the shared bond of the community. The audience were invited to join the dance at the end creating an atmosphere of pure joy, resounding with music and celebration.

Srividya Anish
'Nruthya Harikatha' by Srividya Anish

'Nruthya Harikatha' by Srividya Anish seamlessly blended Bharatanatyam, storytelling, and Carnatic music. The piece opened with a shloka from the Ashwattha Vruksha Stotram - "Mulato Brahmarupaya" - drawing a parallel between the roots, trunk, and branches of the sacred tree to the divine forms of Brahma, Vishnu, and Shiva. This was followed by an Alarippu, resounding with the word "Vriksha," setting the thematic tone for the performance.

She narrated five evocative stories from Indian lore: From the tribal king Pari's golden chariot gifted to a creeper, to Amrita Devi's ultimate sacrifice for trees, and Manjula's offering to Guruvayoorappan, Muruga's disguise as a tree to tease Valli and Kanhopatra becoming the Sthala Vriksha of Pandarpur, each highlighting the sacred bond between humans, gods, and trees. Srividya skillfully packed these stories into a compact yet impactful 45-minute performance, showcasing her sensibilities.

Aditi Bhagwat
Aditi Bhagwat

The festival performances closed with 'Laya Ki Kahani' by Aditi Bhagwat that explored the universal language of rhythm. After opening with a Shivastuti, she connected with the audience through an interactive segment, inviting them to clap along in tune with various rhythmic cycles as she demonstrated complex footwork. This not only made the performance immersive but also showcased her ability to make dance engaging for a diverse audience.

Her portrayal of Nayikas across eras was a highlight - juxtaposing the leisurely life of pre-industrial era women, the spirited balance of work and enjoyment in women who joined the workforce, and the overwhelming monotony faced by modern women. Through her witty abhinaya and sharp narrative, Aditi illustrated how time, though constant, is experienced differently across these contexts. The audience couldn't help but laugh, reflect, and resonate with the realities portrayed.

Her storytelling reminded everyone that rhythm is not confined to art - it weaves through life itself, shaping experiences, emotions, and the passage of time. With 'Laya Ki Kahani,' Aditi Bhagwat brought the festival to a memorable and thought-provoking conclusion, leaving the audience with both joy and introspection.

A Visual and Spatial Experience

Tree of Life exhibition by Bhaskar Rao Botcha
'Tree of Life' exhibition by Bhaskar Rao Botcha

Running parallel to the performances, the 'Tree of Life' Art Exhibition by Bhaskar Rao Botcha, curated by Annapurna M. of EkChitra, offered a visual feast. Bhaskar's paintings captured the spiritual and cultural symbolism of trees with striking vibrancy and intricacy, complementing the festival's thematic essence.

The venue itself played a crucial role in elevating the experience. The Shaheen Stage, surrounded by trees, created a natural synergy between the performances and the environment. The historic HPS campus, with its architectural grandeur, served as a fitting backdrop for a festival rooted in heritage and ecology.

The Feet on Earth Festival 2025 was not merely a series of performances but a profound reflection on how art can engage with ecology, history, and community. Each piece offered something unique, from participatory joy to intellectual depth, from introspection to celebration.

In the curator Pujita Krishna's words: "Feet on Earth is about contextualizing art within the broader frameworks of history, culture, and ecology. Through this festival, we aim to represent lesser seen art forms and make them accessible and meaningful to urban audiences. Vriksha, this year's theme, honors trees as sentient beings that nurture and sustain life. It is a call to reconnect with nature and appreciate its profound gifts."

Feet on Earth continues to redefine how dance and art are experienced. By bridging tradition with contemporary relevance and rooting them in ecological consciousness, it offers a template for how festivals can go beyond entertainment to create meaningful cultural dialogue. The 2025 edition leaves behind a reminder: that art, like trees, nurtures, sustains, and connects us to the deeper truths of life.


Vyshnavi Korlakunta
Vyshnavi Korlakunta is a Kuchipudi practitioner and Master of Performing Arts student at the University of Silicon Andhra. She has introduced Kuchipudi to global audiences in the Nordics through collaborations with international artistes. As a Consultant Curator at Jignasa Artverse, she engages diverse communities in cultural projects alongside the Andhra Pradesh government. With a background in environmental engineering, social work, and traditional training, she brings a distinct perspective to the arts.



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