There was music in the air, a matka swinging overhead and little Krishnas running around with butter-thief mischief in their eyes. For two days, Vana Convention in Gandipet became a vibrant celebration of Krishna Janmashtami as Tarangam, by Chapter 30, brought together classical arts, theatre, crafts, food, music and traditions in an immersive ode to Krishna and the culture he represents.
The celebration began with classical dance and music, filling the afternoon with performances steeped in devotion. A storyteller then brought Antha Krishna Maya to life, followed by more classical dance. But it was the Utti Kottadam, the traditional matka-phod, that truly had the children hooked. Little ones jumped, stretched and scrambled beneath a swinging clay pot, recreating Krishna’s playful exploits as the butter thief of Gokul.
As evening arrived, the legendary Surabhi Theatre troupe brought Sri Krishna Leelalu to the stage — a piece of living heritage that many in the audience had grown up hearing about, but had never actually witnessed.
The second day carried the celebration forward with another extended session of classical dance and music. The matka-phod returned, this time to an even bigger and noisier crowd of children, followed by another round of classical dance. As dusk settled in, bhajan by ISKCON brought a quieter, meditative mood before the festivities once again burst into classical and traditional dance. Surabhi returned for the finale with its signature Maya Bazaar, closing the two-day celebration with the same sense of wonder with which it had begun.
Yet Tarangam was never simply about performances or shopping. Its charm lay in making culture something to participate in rather than merely observe. For Aishwarya Tirumala, one of the founders, the idea came from something deeply personal — love for Krishna and for the culture that surrounds him. “I wanted families, especially children, to have an experience that went beyond the usual school fancy-dress day,” shares Aishwarya, adding, “Traditional art forms matter deeply to me. Just as we might one day have to tell children that a tiger is extinct, we risk having to say the same one day about endangered art forms like Tholu Bommalata if no one carries them forward.”
She points to the Surabhi artists as an example of that dedication. “Then there are artists from the Surabhi Theatre who are completely devoted to this craft. They paint their own canvases, build their own props and write their own dialogues. We just didn’t want the culture to end. We wanted to be patrons holding the flag, taking it forward. Even if anybody gives up, we are not giving up.”
That spirit extended beyond the stage. At the Live Butter Churning stall, children and adults took turns with wooden churners, experiencing the Gokul-style rhythm that generations before them might have known by heart. At Radha Rani Rang, children emerged with delicate peacock feathers painted across their cheeks, transformed into tiny Krishnas and Radhas.
At the Aakrithee workshop, little hands worked potter’s wheels to shape miniature clay cows, while Nagumomu’s Kalamkari and Vana Chitra corners drew visitors into the patient art of traditional brushwork. Whispers of Vrindavan had participants rolling and pouring candles, while the Imara Song Circle filled the air with gentle songs of Chinni Krishna for the youngest listeners. Around these experiences, curated stalls brought together homegrown brands, artisanal creations and festive finds.
But beneath the colour and celebration, there was also a quieter reality. Some stall owners felt the footfall had fallen short of expectations. Aishwarya acknowledged this candidly, pointing out that even Smriti, the concept that preceded Tarangam, had seen a smaller turnout in its first edition than in its second.
“It does take time for people to understand and live and experience the concept. We’ve brought together so many people, and we had great feedback from everybody who has witnessed every performance or has been a part of the workshops — that they would definitely come back,” she notes.
As the organisers look towards the next edition, the hope is not merely to draw a larger crowd, but to give more people a reason to pause, participate and discover the traditions that Tarangam is determined to keep alive.