Young artists and fresh ideas redefine the future of Chennai's Margazhi festival

CHENNAI: It’s that time of year when sabhas and auditoriums echo with the rhythmic sound of ankle bells, as dancers deliver their finest performances. This Margazhi season, DT Next takes a closer look into the festival's evolution, highlighting its transformation through venue shifts, expanded scale, and innovative presentations.

This season holds special significance for senior Bharatanatyam exponent Dr Lakshmi Ramaswamy, as she returns to the stage after a six-year hiatus due to health challenges. She will be presenting Pramaanam, a solo production inspired by the paintings of Sri Keshav Venkatraghavan, at Krishna Gana Sabha on January 2. Reflecting on her journey, Lakshmi fondly recalls her early days in Chennai, “When I first stepped into Chennai as a young bride and joined classes at the Chidambaram Academy of Performing Arts (CAPA) 25 years ago, there were only a few noted venues and senior artistes performing. Over the years, the cultural landscape has grown exponentially, with more young dancers, seminars, and small gatherings of both visual and performing arts. When the opportunities have increased, sometimes there is a lack of professionalism or fine-tuned performances. However, the growing awareness of culture makes me happy and proud to be both a resident and an artiste in this city of culture.”

Looking back on her most memorable performances, Lakshmi highlights her 2018 solo performance of Pramaanam at Narada Gana Sabha. "Dancing on global stages, presenting papers in various seminars, and receiving a range of recognitions from various organisations have been memorable in their ways. But my last solo performance in 2018 for Narada Gana Sabha in which I staged Pramaanam in an auditorium brimming with energy left an indelible mark. I am returning to the stage after six years and feel great and enthusiastic about presenting it with the same zeal," she shares.

For the dancer, Margazhi is a time for deep reflection and artistic celebration. She dedicates herself to preparing for this cultural season throughout the year, aiming to offer a blend of tradition and contemporary relevance. “For this one month, I work for the rest of the year to be part of this cultural festivity. I love to hold on to antiquity and culture, as much as finding new threads to connect to the contemporary audience, both young and experienced,” adds the Kalaimamani Award winner.

When Bharatanatyam dancer Meenakshi Grama moved to Chennai nearly 10 years ago, the Margazhi season was quite different from what it is today. She observes that it has evolved rapidly over the years. “While there were still many events back then, they were mostly held in traditional venues like sabhas. Today, however, we see a rise in alternate venues hosting events in more intimate settings. Smaller auditoriums and unique locations are curating performances based on diverse themes and concepts. Art management companies are not only organising music, dance, and drama concerts but are also hosting conversations, lec-dems, and workshops that delve into the legacy of dance and other niche topics,” Meenakshi shares.

She adds that it is truly heartening to see the arts scene flourishing, particularly with more people choosing to pursue Bharatanatyam and other classical forms as a profession. “Another notable shift is in ticketing practices. More organisers are now charging for entry, which is important given the immense dedication and hard work that artistes invest in their performances. We’re also seeing more connoisseurs and rasikas willing to pay to watch live performances. However, the downside is the sheer volume of events, which often results in audiences being spread thin, making it seem like attendance at certain events is lower than it is,” she notes.

Meenakshi also highlights a positive change within her generation of dancers, where a more supportive community is gradually taking shape. “It’s no longer just about attending performances. We actively engage in discussions about the creative process and offer constructive feedback, which is crucial for growth and improvement,” she tells DT Next.

Bhavajan Kumar, a Bharatanatyam dancer and teacher, has been performing in the Margazhi festival since the age of 19. Over a decade later, its magic still captivates him. “Growing up in Toronto, access to such a wealth of art was rare, which makes the richness of Margazhi even more special to me,” he shares.

Bhavajan observes that the Margazhi dance and music season, steeped in cultural fervour, has evolved significantly over the years. “What began as an intimate celebration of classical music, dance, and theatre has now grown into a globally recognised cultural festival, expanding in scale, presentation, and accessibility.”

Reflecting on his first Margazhi experience, Bhavajan recalls vividly his arrival in Chennai in 2010, shortly after moving from Toronto. “It was fascinating to witness artists performing with such passion before enthusiastic audiences. Back then, word of mouth, limited WhatsApp forwards, and pamphlets like Kutcheri Buzz were our main sources of information about the festival. The city was alive with packed auditoriums, diverse performances, and vibrant energy.”

Fast forward to 2024, and the festival has evolved in response to a changing world shaped by the COVID-19 pandemic and its aftermath. “The 2022 comeback season reminded us of the resilience of the arts community and the joy of reconnecting with this vibrant celebration of culture. New trends have emerged - smaller organisations and chamber concerts have gained prominence, offering more intimate spaces for both performers and audiences. This shift has reduced the reliance on traditional sabhas, giving artists greater freedom to experiment and innovate,” he explains.

Bhavajan also observes a shift in the audience dynamic. “While Margazhi has always drawn rasikas from around the world, there is now a growing presence of younger voices. Their perspectives and enthusiasm infuse the festival with fresh energy, sparking meaningful conversations about the balance between tradition and modernity. Feedback from rasikas often reflects how performances evoke both nostalgia and reflection while paving the way for new ideas. It’s heartening to see the flame of Margazhi burn brighter with each passing season.”