Thiruvananthapuram breathes heritage and art as Navaratri begins

The Navaratri Mandapam is known for its natural acoustics and lighting, which allowed veteran court musicians to be heard with clarity by other learned talents in the assembly.
When the procession carrying Navaratri idols reached Siva Temple at Karamana
When the procession carrying Navaratri idols reached Siva Temple at Karamana Photo | B P Deepu
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THIRUVANANTHAPURAM: Navaratri festival is the time when music is in the air, and the winds bring in tunes of the nine compositions deftly crafted exclusively for the occasion by famed monarch-singer of Travancore, Swati Thirunal.

The venue where it is staged is one where history stays put. The Navaratri Mandapam is known for its natural acoustics and lighting, which allowed veteran court musicians (Mullammoodu Bhagavathars) to be heard with clarity by other learned talents in the assembly.

It was kind of a Carnatic jam session where each singer would pick up from where the other left, and the flow of ragas ensuing thus ended in a musical, melodious conversation.

The very thought of it is pure ecstasy to Aswathy Thirunal Rama Varma, eminent musician, and member of the erstwhile Travancore state.

He now puts together the festival during the season at the very stage where it has been held for over 150 years. Or at least, from the time the festival shifted from its earlier base at Padmanabhapuram palace where the famed Navaratri mandapam — a sheer marvel of Dravidian architecture — was the venue of the arts extravaganza.

The art performances were all before a shrine that held the idol of the Goddess of learning, Saraswathy, said to be the one worshipped by Kambar, the writer of the Tamil version of Ramayana, and handed down to the Venad kings.

Performance by Vighnesh Ishwar at Navarathri Mandapam in Padmanabhaswamy Temple
Performance by Vighnesh Ishwar at Navarathri Mandapam in Padmanabhaswamy Temple

This idol is still worshipped in a separate temple on the palace premises, and brought to Thiruvananthapuram annually as per a promise made to the deity by Swati Thirunal during his reign.

The festival has seen several changes from the times of Swati Thirunal. “Amma Maharani streamlined it to an evening affair, where the main concert would begin after a Thodaya Mangalam, and would last for an hour. She also allowed recitals of Veena during the festival, which otherwise only had accomplished male vocalists perform,” says Rama Varma.

Later, after Rama Varma took charge, the festival allowed recitals of other instruments, as well as performances by female musicians, the first of which was the legendary Parassala Ponnambal. The renumeration of the artists were also revised to suit the times.

Now, the mandapam is abuzz with activity during the Navaratri season.

While the daytime has dance and music groups perform before the Saraswathy idol, the evening accommodates the customary festival. The evening programmes will be from 6pm to 8.30pm.

Art festivals are also being held as part of Navaratri elsewhere in the capital too.

For the first time since its formation, the Sri Seetharama Bhaktha Sabha, Ayodhya Nagar, is organising an art festival, where young talents in dance and music will be given chances to perform for the next nine days, says Ramakrishnan V, secretary of the sabha.

Lalithambika Sangeeta Natya Koodam, which has set up an elaborate bomma golu (the ritualistic display of dolls and artefacts) in its precincts, will also be staging performances by up-and-coming talents from across South India.

Another highlight would be a special Kalari-based performance to be staged at Agasthyam Kalari, Nemom, on October 10.

“The theme would be the nine forms of Shakthi, the supreme feminine power,” says Mahesh Gurukkal, who runs Kalari.

The city will be host to an exclusive nine-day dance festival by Abhinavakshetra at its studio at Kallummoodu, and the ‘Dandiya Dhoom’ by Firebirds at Vylopilly Samskrithi Bhavan on October 6 (from 6 to 9 pm).

This will be apart from the art festivals being held by various temples and organisations, including at the Poojappura Saraswathi Mandapam, which too is a spot of historical relevance.

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