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 Nayika 2026- Ashwini Naike-mail: ashwini.naik.gad@gmail.com Photos: VB Suresh April 6, 2026 Nayika, a celebration of womanhood through dance, has become a cherished annual feature around Women's Day, conducted by the Shambhavi School of Dance and curated by Guru Vyjayanthi Kashi. This year marked yet another enriching installment in the series, featuring a unique workshop and an evening of compelling performances. Nayika 2026 was held on 27th March at the Institute of World Culture auditorium in Basavanagudi, Bengaluru. Speaking on the occasion, Vyjayanthi Kashi described Nayika as a reflection of women navigating the many transitions of life while continuing to nurture and contribute with strength and grace. The festival stands as a tribute, a salutation to generations of women who have carried forward art and tradition with perseverance, devotion, and extraordinary passion. It also serves as a vibrant platform to encourage young dancers and to engage audiences in supporting the arts and artistes. This year's evening commenced with a distinct and thought-provoking workshop on abhinaya. The intent was not merely to teach a new padam, but to immerse participants in the creative process, understanding the nuances of the poetry and the poet, identifying the nayika, and developing a personal interpretation of the character. A single Kshetrayya padam, "Maguva tana kelika mandiramu vedalena", became the medium for three different interpretations offered by three senior dancers, offering participants a rich and varied learning experience.  Sharmila Mukerjee The workshop began with Sharmila Mukerjee, a renowned Odissi dancer and mentor from Bengaluru. She explored the character of Goddess Lakshmi in the padam as a young woman deeply in love with her husband, Lord Vishnu, approaching the narrative through the eyes of Kshetrayya. As Lakshmi steps out of her chamber, he reflects on what might have transpired within, seeing the situation from both characters' points of view. Emerging after a night of union, Lakshmi remains in a dreamlike, ethereal state, still immersed in its memory. Sharmila also highlighted how subtle movements and hastas, along with the finer details of expression in Odissi, were used to effectively convey the sensual nature of the padam.  Vyjayanthi Kashi Vyjayanthi Kashi, a celebrated Kuchipudi artiste and Guru known for her mastery of abhinaya, followed with a contrasting perspective. She approached the character as if Kshetrayya were Lakshmi, enacting the goddess from his perspective. In this interpretation, Lakshmi, though divine, is aware of her post-union dishevelment - suggestively conveyed through imagery such as a bird mistaking her lips for fruit. Yet, despite her longing to remain with her beloved, she recognizes their responsibilities toward devotees and ensures that they take their rightful place in the temple garbha griha.  Padmini Ravi Padmini Ravi, senior Bharatanatyam dancer and Guru, presented yet another dimension of the nayika, as an innocent young maiden. Her interpretation brought forth a character who prepares herself for union with anticipation. She embodies sensuality, playfulness, and a touch of possessiveness. Padmini further enriched the session by inviting three young dancers on stage, guiding them in developing and presenting their own interpretations. Through this, she added further depth by offering insights into aspects such as spatial awareness and directional movement. Ramya added significant emotional depth to the padam explorations through her intense and emotive singing. Her command over the language, combined with her sensitivity as a dancer, added depth to the overall experience. Veteran actress, theatre personality, and Member of the Karnataka Legislative Assembly, Umashree, graced the evening as the Chief Guest and formally inaugurated the performance segment. Addressing the audience, she commended the efforts of Vyjayanthi Kashi in nurturing and strengthening the dance fraternity through thoughtfully curated initiatives like Nayika.  Shweta Prachande The evening's performances commenced with the young and dynamic Shweta Prachande, a disciple of Guru Priyadarshini Govind, who captivated the audience with a nuanced rendition of a varnam. She portrayed a virahotkanthita nayika - a heroine pining in separation, whose deep love for Lord Brihadeeshvara is expressed through longing and devotion. Through her performance, the nayika calls out to her lord, asserting that no love could rival her own. With grace and emotional depth, Shweta brought alive the intensity of longing and devotion, pleading to be acknowledged alongside Parvati and Ganga, beseeching him to cast aside the serpents that adorn him, and inviting him instead to embrace her, to envelop her in place of the tiger skin. Complementing her expressive abhinaya, she displayed remarkable precision and strength in the execution of the jathis, making for a well-rounded and compelling presentation.  Prateeksha Kashi The second performance of the evening was Kuchipudi, presented by the talented and versatile dancer, Prateeksha Kashi, disciple and daughter of Vyjayanthi Kashi, who continued the evening's compelling exploration of the emotional complexities of womanhood. She began with Urvashi Shaapa Vimochana from Kalidasa's Vikramorvashiyam, bringing to life the complex character of Urvashi. Her portrayal covered many emotions - the pride of a celebrated dancer in Indra's court, the fleeting lapse in concentration upon glimpsing King Pururavas during a performance, the anguish of being cursed by Indra to be born as a mortal, and finally, the joy and purpose she discovers when that very curse transforms into a blessing, to bring the Natya Shastra to the earthly realm. Her performance seamlessly moved through these contrasting emotions with clarity and conviction. In the following ashtapadi, as Radha, she effectively conveyed anger, hurt, and sarcasm upon discovering Krishna's betrayal, culminating in a firm resolve to reject him. In a poignant moment, she shed tears on stage, lending authenticity and depth to the portrayal. She concluded her presentation with a Tarangam, confidently showcasing her technical prowess through a poised and skillful performance on the brass plate.  Shashwati Garai Ghosh The final performance of the evening was by Shashwati Garai Ghosh, disciple of Guru Sharmila Biswas, who presented choreographies rooted in Odissi, with a spirit of experimentation that at times moved away from the traditional form. Her first piece, Daughter of Autumn - Mahamaya, portrayed a divine nayika who dispels darkness and heralds light. The work wove together the arrival of autumn in Bengal with the significance of Devi Paksha, presenting the goddess as a powerful and protective force. Her second presentation, Poorna - Trance in Love, explored devotion through shringara. As Radha rejoices in her union with Krishna, the sakhi becomes a medium of bhakti, celebrating Krishna through Radha. The inclusion of Bengali folklore and folk forms such as Baul and Kirtan added texture to the piece. Shashwati stood out for her strong body control and expressive abhinaya, bringing clarity and intensity to her performance. While the presentation drew appreciation from many, it also evoked a mixed response, with some viewers seeking a stronger presence of traditional Odissi elements in the choreography. The entire event was seamlessly anchored and held together by Rekha. Nayika 2026 offered a thoughtfully curated exploration of the many shades of womanhood, bringing together diverse interpretations of the nayika across styles and narratives. From the deeply internalized abhinaya explored in the workshop to the varied stage presentations, the festival created space for both tradition and individual expression.  Ashwini Naik is a corporate leader, dance enthusiast and a writer. Vice President in a Multinational, Ashwini tries to intertwine her vocation and avocation by driving cultural initiatives in the corporate world. Having trained in Bharatanatyam and Kuchipudi, Ashwini shares her learnings of leadership qualities from dance with her corporate friends. |
