The stage at Kalasagaram did not erupt into movement immediately. It eased into it — through stillness, prayer, and the quiet confidence of dancers shaped by years of rigorous training. Presented by Sri Rama Nataka Niketan, Narthana Lahari, under the guidance of Manjula Ramaswamy, unfolded as an evening that celebrated not just Bharatanatyam as an art form, but the philosophy and devotion that sustain it.
Founded in 1966 by the late VS Ramamoorthy, the institution has upheld Bharatanatyam through rigorous training and a deep commitment to tradition. “My father believed Bharatanatyam must be taught in its truest form. He wanted young people to understand that passion and profession can coexist, and that classical art is not separate from life, but deeply woven into it,” says Manjula Ramaswamy.
From Pushpanjali, opened the recital with reverence and grace, to the layered storytelling of Sakhiye Varnam, each presentation carried its own emotional texture. Pieces like Arputha Narthana, and Rasa Vilasa, brought vitality and rhythmic energy to the stage, while Ardhanareshwara Stuti reflected balance, symmetry, and devotion.
The production moved fluidly between nritta and abhinaya, allowing pure dance and expressive storytelling to coexist seamlessly. Javali carried subtle emotional complexity, while Valli Kanavan unfolded with softness and lyrical grace. Natanam Adinar captured the celebratory spirit of movement itself, evoking the joyous imagery associated with Lord Shiva’s cosmic dance.
The evening then witnessed Dr Srishti Budhori Sharma’s Ashtapadi Yahi Madhava. Her interpretation of Yahi Madhava, drawn from Saint Jayadeva’s 12th-century Gita Govinda, explored the emotional world of Radha with remarkable depth and restraint.
Rather than limiting the performance to a single emotional state, the piece showcased multiple dimensions of the Ashta Nayika. “I wanted to explore four to five stages of the nayika. From Vasakasajja, where she prepares for her beloved, to Vipralabdha, Khandita and Kalahantarita — the emotions evolve from anticipation to betrayal, anger, regret and longing,” she says.
For Dr Srishti, balancing dance and medicine has always come naturally, though life has now added another role into the mix. “Now, after becoming a mother, this performance feels especially meaningful. It’s a new phase of life — balancing medicine, dance, and motherhood — and I’m happy that Kalasagaram continues to remain a part of my journey,” she notes.
In many ways, Kalasagaram itself embodies that same spirit. For generations, the organisation has created space for both established and emerging artistes, nurturing rasikas while keeping classical arts accessible to wider audiences. “This is the need of the hour. Platforms like Kalasagaram don’t just preserve tradition, they encourage the next generation to carry it forward,” concludes Manjula.