The faint yet serene light from the lamps that illuminate the old-world charm of the Navaratri Mandapam at Padmanabhaswamy temple can be misleading. Surrounded by that antique magic, one feels the space is tucked away in yesteryears, seemingly untouched by time.
But change has found its way in. From the introduction of instrumental music in the early 20th century to 1996, when women were permitted to sing at the prestigious forum dating back to the Swathi Thirunal period, the Navaratri Mandapam has moved with the times.
Open to the public during the nine days of festivities, it continues to showcase the finest music talents from across the country.
This year, too, the Mandapam had concerts destined to go down in history. On Tuesday, the first recital of the series was by T V Gopalakrishnan, who, at 94, is considered the oldest artist ever to perform at the hallowed venue.
The veteran from Tripunithura is a revered guru, having mentored stalwarts including Ilaiyaraaja and A R Rahman. A composer with several pioneering works, he remains low-key despite accolades that include the ‘Kalaimamani’ title, the Sangeet Natak Akademi Award and the Padma Bhushan.
“It is a great honour for me to be performing here for Navaratri,” says the maestro.
“I opened the concert with Devi Jagajanani in Raga Shankarabharanam, as per the schedule for the festival drawn up by Swathi Thirunal. I also sang a few Hindustani songs composed by the monarch-composer, whose works are traditionally rendered at the Mandapam during the nine days.”
Known simply as TVG in Carnatic circles, he hopes to return for more. “I am still learning. There are many rare krithis that need to be made popular. I also want to reach out to the music lovers of the West with our music, which is nuanced in a surreal manner,” says the artist, who has collaborated with George Harrison, Bob Dylan, Ravi Shankar and Ustad Alla Rakha, taking fusion music to great heights.
In sharp contrast to the oldest performer, the Mandapam also saw its youngest female artist yet: Charulata Chandrasekhar, a 19-year-old veena player who shared the stage with her grandmother, R S Jayalakshmi, on Thursday.
A performer since the age of nine, Charulata calls the opportunity a blessing. “It’s such a traditional stage, which opened up to women only in recent years. To be able to perform there this young is god-sent,” says Charulata, who has already done about 600 recitals.
“The veena is quite intricate in its musical structure and rendition. It was handed down through generations and I want to take the legacy forward.”
Inclusivity in performances is not confined to the Navaratri Mandapam.
Across the capital, known for its rich spread of Navaratri art events, this openness is palpable. At Saraswathi Mandapam in Poojappura, performances start as early as 6.30 am and go on till late at night. This year, the organisers introduced a separate venue, ‘Aarkum Padaam’, where anyone can sing.
The main stage, however, remains the 200-year-old Swathi Mandapam, where both veterans and budding artists perform. On the opening day, the stage witnessed a poignant recital by Kanmani S, a 22-year-old music graduate from the Swathi Thirunal College of Music, who was born without hands.
She opened with fine compositions including Devi Jagajanani in Raga Shankarabharanam, proving that passion and perseverance can shatter physical barriers.
“I was born this way, but to me it is my biggest plus. My mother initiated me into music when I was young and since then, I have been encouraged to pursue the passion. I hope to do my PG and PhD in music, and then take up music academically,” she says.
The spirit of diversity and inclusivity extends beyond the popular venues. This year, the Sammohan 2025 festival came to the capital on September 27. The two-day fest featured 300 artists, each of whom had overcome disabilities to embrace art.
Among them is 22-year-old Korok Biswas, who calls himself a “self-advocate” of art. A Gaudiya dancer from Bengal with rigorous training in Bharatanatyam under Dr Arkadev Bhattacharya at Kerala Kalamandalam, he takes a rural project of the Ramakrishna Mission to people, spreading awareness that barriers can be overcome with will and aspiration.
“At Sammohan, to be held at Magic Planet in Thiruvananthapuram, he performed both gaudiya and bharatanatyam,” says his father Kallol, proud that his son is arguably India’s first classical dancer with Down’s Syndrome to have gained national and international recognition.
Joining him is 25-year-old Megha Chowdhury, a disciple of Hindustani maestro Pandit Ajoy Chakraborty. “She sang Rabindra Sangeet, for which she has received training. And since it is Navaratri, she opened with a Saraswati Vandana,” says her mother Archana.
Megha, who is autistic, began talking late, but music as therapy transformed her journey. Training at Ajoy Chakraborty’s Shrutinandan School gave her further grounding. A state awardee, Megha’s rendition was a mix of classical and semi-classical, reflecting the inclusivity that has allowed her aspirations to take flight.
Inclusivity has also found expression off stage. At several venues, Sreemayi S and her team were seen immersed in bharatanatyam performances. “We are to have our arangettam two months from now,” says Sreemayi, a transwoman who volunteers with the District Legal Services Authority and works with the Transgender Justice Board.
She and 10 other transwomen have been training under guru Gayathri Subramanian. “I always wanted to learn the art form but it was costly when I was growing up. Then came the phases of gender identity and the surgery that made me who I wanted to be. Finally, the lessons began three years ago when I was 32. Now, I am preparing for my debut on stage, and hope to perform a full classical repertoire in the seasons to come. Now, it’s time to observe the nuance and learn,” she says with a smile, posing for a picture with her friends.
“True art can grow only when it has space for all. I am so happy that Navaratri here is evolving to incorporate that universal spirit.”