Bharatanatyam exponent Madurai R Muralidaran is set to bring that world to the centre stage with Saptatala Lahari, a three day production that premieres at Krishna Gana Sabha from June 19 to 21.
The production marks a significant milestone in Muralidaran’s long running artistic quest to create Bharatanatyam Margams based on the 35 Suladi Sapta Tala system of Carnatic music. Built on seven fundamental talas and five jatis, the system offers a vast rhythmic framework that is rarely explored in its entirety on the dance stage.
The inspiration, says Muralidaran, dates back to his training in mridangam under his guru, Madurai Krishnarajan. “In Bharatanatyam, we usually work with a limited set of talas such as Adi, Rupaka and Misra Chapu. I began wondering why we couldn’t create complete Margams using the wider Sapta Tala system. That curiosity became a journey,” he says.
The journey has already produced 19 Margams, and with Saptatatla lahari, the number will rise to 26, an achievement he believes is unprecedented in Bharatanatyam history.
For those unfamiliar with tala theory, the Suladi Sapta Tala system is a rhythmic framework in Carnatic music built on seven fundamental talas — Dhruva, Matya, Rupaka, Jhampa, Triputa, Ata and Eka. These are further combined with five jatis, creating 35 distinct rhythmic structures. While Bharatanatyam performances typically employ only a handful of commonly used talas, Muralidaran’s project seeks to explore the full breadth of the system through the traditional Margam format.
At first glance, the project may appear highly technical, but Muralidaran insists that rhythm and expression are inseparable. “Everything in dance is connected to tala. Even the jatis we perform are mathematical in nature. The challenge is to make those structures come alive through movement, music and emotion,” he explains.
Over three evenings, Muralidaran and 11 of his disciples will present seven distinct Margams, each built around different tala structures. The complexity, he says, lies not merely in the choreography but also in composing lyrics, melodies and dance sequences that fit unusual rhythmic cycles. “Working within an 11 beat cycle, for example, is far more demanding than working within an eight beat structure. Every lyric, every musical phrase and every movement has to fit perfectly within that framework,” he says. “There were moments when I felt nervous because this is an experiment. When you attempt something new, you also carry the responsibility of getting it right.”
The dancers participating in the production were chosen carefully. According to Muralidaran, only performers with a strong command of rhythm and footwork could handle the demands of the choreography. Beyond its technical ambition, Saptatala lahari promises a rich musical experience. The production features several rare Carnatic ragas, including Hemabhooshani, Poornasarjam and Pushpaladhika, offering audiences a chance to experience sounds that are seldom heard on mainstream concert platforms.
For Muralidaran, however, the larger goal extends beyond the performance itself. He hopes the production will inspire dancers, teachers and students to think differently about rhythm and choreography. “This will be a different experience from what audiences have seen so far. For dancers and teachers, it can also be a learning experience. I hope it encourages them to explore new possibilities within the Bharatanatyam tradition,” he says. Saptatala lahari will be presented from June 19 to 21, from 5.30 pm to 9 pm, at Krishna Gana Sabha.