Chennai Diaries
Musings on the Chennai Margazhi season experience,
by Silambam dancers Ariya Shah, Reethi Kavaipatti, Karthika Haridas, and Rishveda Shinoj
ARIYA SHAH
(High School Junior, Senior Student Instructor at Silambam)
Performing in the Chennai Margazhi season has shown me a side of dance that I am unable to experience in Houston. I have no words to describe how amazing it was to see the entire city come alive for this festival. The whole of Chennai comes together as a community to support new and experienced dancers alike and to attend performances all around.
I am eternally grateful for being given the opportunity to perform a solo in this lively season for the very first time. Practicing for this solo has shown me the depths you can go to in thinking about your dance and abhinaya and how to bring out the message from your mind and heart out in your dance.
I am beyond honored to have met Sudha aunty and to have received her blessing. Even in the short time I met Aunty, I learned so much. I learned the power of simple gestures and how to streamline your message into one or two gestures. It is critical to make every move with intention and focus and to actively have your mental picture and “mind voice.”
When I first saw Aunty and talked to her I was so nervous to the point I forgot how to stand and was terrified to dance in front of her. When I started my abhinaya piece, Ardhanareeshwaram, she said to me, “Wait darling” and she sat thinking for a few moments. In those few moments the entire room went silent and you could almost hear the chaos happening in my mind. Everyone’s curiosity levels were through the roof.
Orchestra rehearsal under Sudha Aunty’s watchful eye, for Ariya’s solo at Medai Margazhi
Then, in a split second she showed me what she wanted me to do. I can only describe it as she just ‘took it’ and said to do it. She did everything so fast I couldn’t process what her hands showed because her expressions stole my focus. Her face told an entire story in a single second without any words spoken. I stood there frozen looking back and forth between Lavanya aunty and Sudha aunty in shock and awe and confusion unsure where to begin.
This addition put the entire piece into context with barely two movements and expressions. This seemingly simple change greatly impacted not only the way I thought about and executed this piece, but also my approach to every piece I dance in the future.
Interactions like this one further show me why Sudha Aunty is Prof. Sudharani Raghupathy. Sudha Aunty is truly an incredible person to learn from and I am extremely honored to have been blessed by her. I really hope to come back to Chennai and continue my journey in the season and to continue adding to my experiences. I especially hope to have more opportunities to dance for Sudha Aunty and to learn as much as I can from her.
I want to thank Lavanya Aunty from the bottom of my heart for giving me the platform to perform in Chennai and to experience the Margazhi season just as she did growing up. This trip was an unforgettable one and I will forever cherish the memories made.
REETHI KAVAIPATTI
(High School Freshman, Senior Student Instructor at Silambam)
Performing during the Chennai Margazhi Season is an incredible honor, as it is one of the most prestigious classical music and dance festivals. Every December, sabhas are filled with Bharatanatyam performances and Carnatic music. This was a big opportunity for me to grow as a dancer - I got to be exposed to so many amazing dancers and watch them take the stage. Being surrounded by this environment is something that cannot be experienced in Houston.
Orchestra rehearsal for ‘Ramaneeyam’ with Sudha Aunty and the wonderful orchestra
Preparing for our group performance, Ramaneeyam, showed me how much coordination was required, as every movement affects the storytelling of the piece. Rehearsing in Chennai for Ramaneeyam felt very different from practicing in Houston because of the focused environment and high expectations surrounding the Margazhi Season. We had the honor of having one of our orchestra rehearsals in front of Sudha aunty. Dancing in front of her was intimidating, but it was amazing to see her attention to detail. As she showed us ways we could fix certain parts, her abhinaya stood out and it was engaging.
I was amazed by how many small details went into shaping the final performance. Rehearsing with the orchestra in Chennai was an entirely different experience from practicing with recorded music or hearing Lavanya aunty sing. Having the live orchestra brought variations to the music which we had to adapt to, and hearing them while dancing brought so much energy to the performance. It was exciting to feel everything come alive on stage.
Moments from the premiere of ‘Ramaneeyam’ at the Kartik Fine Arts Festival
Between rehearsal time in Chennai, we were able to go see other dancers perform. Watching these performances gave me a new perspective on Bharatanatyam, inspiring me to think more deeply about how I express my abhinaya and connect with the audience. After seeing these performances, I wanted to bring the same level of expression and connection to the audience in Ramaneeyam. All of these rehearsal experiences helped me understand how much preparation goes into a performance during the Margazhi season, beyond what the audience sees on stage.
After our Ramaneeyam performance, Lavanya Aunty started 2026 with a solo which I was able to attend. Her solo performance was even more special because it marked 26 years since she last performed on the Mylapore Fine Arts stage. While she was dancing on stage, one of her earrings fell off. I was worried myself, but I noticed how calm her face was, as if she was not even thinking about the earring. It was almost like nothing had happened. She even seemed to enjoy the moment by glancing at the orchestra. At one point, the power in the auditorium went out, but she continued to dance as if the lights were still shining on her. This truly showed me that no distraction can take away from being completely present on stage.
I am extremely grateful to Lavanya aunty for giving us this opportunity to perform in such a prestigious place. I am so lucky to have been able to watch excellent dancers and dance during this season. Being a part of this production has taught me so much and allowed me to grow as a dancer. Performing during the Margazhi season was an unforgettable experience and I hope to have more opportunities like this in the future.
Lavanya Aunty at Mylapore Fine Arts
RISHVEDA SHINOJ
(High school junior, Senior Student Instructor at Silambam)
Watching a performance at the Kalakshetra Foundation in Chennai was an experience that deeply expanded my understanding of
storytelling through dance in a way I had never experienced before. The performance, ‘Sabari Moksham’ focused on events that occurred during the forest exile of Rama in the Ramayana epics. It had different episodes, the last of which was the story of Sabari. The nrita and the abhinaya were absolutely spectacular and were super inspiring to see in person.
Just being in the environment of the Kalakshetra Foundation was so amazing. As we drove by we saw the buildings in which the students of Kalakshetra train. It is an amazing environment, beautiful and filled with greenery. The stage itself was huge and thad audience seating on the floor in front of the regular seats, as well as a gallery, all with amazing views.
The Kalakshetra style is characterized by purity, precision, and simplicity. They were extremely synchronized and their lines were perfect. The production made full use of beautiful costumes, and props - a throne for Ravana, a wooden stump for Jatayu, and even a seat for both Rama and Sita in their house in the forest.
The stunning Kalakshetra auditorium as seen from the gallery
At the beautiful Kalakshetra auditorium
Some of my favorite parts of this production were with Shurpanakha. Her story took up most of the first act but it was beautifully represented. She was powerful as a demon and then when she shapeshifted, as an audience member, I could see the shift. Her scream when she had her ears and nose cut off sounded so real and was the perfect way to end that scene.
This performance was extremely important to me specifically because in our production of Ramaneeyam, I performed the role of Sabari. Being able to see another approach to playing Sabari inspired me to work on my abhinaya further.
Overall this was an amazing performance, which we wouldn’t have been able to see without the help of Sudha Aunty (Prof. Sudharani Raghupathy), who was able to get us tickets to a sold-out show. I am also so grateful for Lavanya Aunty for providing us with this opportunity.
An amazing opportunity that we had was being part of the annual Natya Kala Conference. Among the talks we attended were “Ranga-Prakaasha: Lighting as the Art of Highlighting” by Gyan Dev Singh, an eye-opening view of lighting and its importance in helping a performance reach its full potential. “Shaastra and Prayoga: A Symbiotic Connection” by Guru Vasanthalakshmi Narasimhachari was a deep and profound exploration of the connection between theory and practice in Indian classical dance. Finally, “Prayuktha: Responding with Responsibility - An ABHAI offering” by ABHAI (Association of BHaratnatyam Artistes of India) office bearers Priya Murle, S Janaki & Ramya Ramnarayan, described their work and future plans. This talk was very inspirational as it showed us what a large community of Indian dance we belong to.
With our rehearsals and performances often being in the afternoon or evening, we often had free time to explore Chennai stores! Practice sarees of so many new designs, borders, and color combinations, sarees and half sarees in different fabrics, colors, and designs, the famous Kanchipuram silks, the wide range and designs in dance jewelry, street markets that sold jewelry, bags, and kurtis - I struggled to fit everything in my suitcase at the end of the trip! Shopping in Chennai was such a great experience, with all the different things it had to offer.
Shopping in Chennai was quite an experience!
KARTHIKA HARIDAS
(Silambam FacultyMember)
Coming to Chennai during the Margazhi season has had a truly profound impact on me. Having renewed by dance journey at Silambam just a few years ago after taking a short break, it didn’t take long for me to fall back into the familiar rhythm of a dancer’s life—two-hour classes, multiple sessions in a day, and the discipline that comes with it. Through this journey, I was given the opportunity to experience and perform during the Chennai Margazhi season, an experience that has completely transformed the way I view dance and the arts as a whole.
One of the main highlights of our time in Chennai was a one-day trip to the historic city of Thanjavur. After a quick seven-hour drive, we began the day at the Brihadisvara Temple, admiring the intricate granite architecture and the sheer scale of the temple.
After that visit, we had the wonderful opportunity to visit the ancestral home of the Thanjavur Quartet. There, we saw family photographs and treasured heirlooms, including the original violin gifted to Vadivelu by Maharaja Swathi Thirunal himself.
We also had the opportunity to dance in the home to the vocals of KPK Chandrasekhar, who belongs to the direct lineage of the Thanjavur Quartet. It was truly an unforgettable and special experience.
Navya Nair at the Kartik Fine Arts Festival
‘Sudha Dhaara’ by Kalaimamani Priya Murle and students of Shri Silambam Academy
During our time in Chennai, we had the privilege of attending a wide range of performances, each offering a unique artistic perspective. We watched performances by Deepthi Ravichandran and our own Ariya Shah, witnessed the production of Sabari Moksham by Kalakshetra, performances from Navya Nair and Dr. Narthaki Nataraj.
My experience with the season concluded with a memorable performance by Kalaimamani Priya Murle and her students, ‘Sudha Dhara’, which beautifully captures of the rivers of India.
Dr. Narthaki Nataraj at Kartik Fine Arts
Although all the artists performed within the same framework, each presentation showed major differences in abhinaya and nritta. More importantly, it highlighted how the same dance form can be used to interpret stories in entirely unique ways. Each artist brought their own emotions, perspectives, and individuality to the stage, allowing the narratives to unfold uniquely every time. Watching these performances not only increased my love for the art, but also encourages me to keep on dancing and learning as much as I can to truly be able to capture just an ounce of what I saw this season.
I will forever cherish this time in Chennai and for that I’m truly thankful to Lavanya Akka and Silambam for giving us the opportunity to experience a true Chennai Margazhi season.
A precious moment with our MahaGuru, Prof. Sudharani Raghupathy