Chennai begins to move in rhythm as Margazhi arrives, accompanied by collective devotion. The city awakens before dawn to the strains of raga, and evenings unfold to the measured geometry of dance. Music halls, temples, and modest stages transform into spaces of listening, learning, and deep attention. It is a time when tradition is not merely performed but lived through disciplined practice, inherited repertoires, and audiences attuned to nuance.
Adding further value to this year’s Margazhi, Medai-The Stage has introduced Medai Margazhi, featuring Bharatanatyam exponents from different countries. It becomes a meeting point between past and present, homeland and horizon, discipline and discovery. Speaking about the idea, Shakira Mukthar, artistic and executive director of Medai, says, “Medai Margazhi was born out of a simple but powerful thought — every dancer deserves a meaningful stage. Margazhi in Chennai has always been sacred to classical arts, and I wanted to create a platform where young artistes and established exponents could perform together, reflecting the natural journey of the form itself.”
Bringing exponents from different countries highlights how deeply rooted the art is, and the curation process is as challenging as it sounds. “The curation was driven by the artiste’s depth of practice rather than geography. By bringing artistes from different regions and countries onto one stage, Medai Margazhi becomes a quiet reminder that our classical arts are timeless, grounded in tradition, yet expansive enough to belong everywhere,” she shares.
‘An honour to perform a composition on Goddess Meenakshi’
Originally from India and now based in Galway, Ireland, Sahana Sridhar’s journey with Bharatanatyam is rooted in a traditional learning environment where discipline, repetition, and devotion to the art were central. “Over the years, the form evolved from practice to purpose, shaping not only my artistic identity but also the way I perceive rhythm, emotion, and narrative,” she says.
Practising Bharatanatyam outside India has also influenced her approach. “Distance from the cultural ecosystem forces deeper internalisation of theory, tala, and bhava rather than reliance on cultural familiarity. It has strengthened my respect for structure and clarity,” shares the choreographer-teacher.
For her upcoming performance in Chennai, she will present a varnam on Maathey Malayadwaja, a powerful composition portraying Goddess Meenakshi, her divine strength, compassion, and regal authority. “The varnam explores her journey as the daughter of King Malayadwaja, her valour, and her union with Lord Sundareswara. The piece demands both technical endurance and layered abhinaya, making it a deeply immersive and spiritually charged experience. Presenting this varnam during Margazhi is both a responsibility and an honour,” she notes.
Sharing the challenges international dancers face in preserving authenticity while responding to the cultural contexts of their countries, Sahana feels the major hurdle lies in maintaining stylistic integrity while making the art accessible without dilution. “There is a constant negotiation between preserving classical grammar and responding sensitively to multicultural audiences. Authenticity requires discipline, continued guidance from gurus, and resistance to oversimplification, even when adapting presentation formats abroad,” states the 28-year-old.
For her, performing abroad, especially in Ireland, often involves contextualising the form for diverse audiences, whereas dancing in Chennai during Margazhi is about absolute precision, tradition, and artistic honesty within a shared cultural language.
Sahana will perform on December 29 at 7 pm. This is a ticketed performance.
‘Performing in Chennai is like stepping into the heart of Bharatanatyam’
Son and disciple of Indhumadhi Gopalakrishnan, Akshath Piram is flying down from the United States to perform Venugaanane, focusing on the life of Krishna. Introduced to classical dance by his mother at the age of two and a half, he gradually understood the power of rhythm and storytelling. “Today, Bharatanatyam feels like a part of my identity and a way to stay connected to my tradition,” he notes.
Akshath says that the grammar of Bharatanatyam becomes the foundation abroad. “Without culture surrounding me at every corner, I had to pay attention to every adavu, mudra, and aspect of abhinaya. I also discovered how universal abhinaya is, because even audiences unfamiliar with dance could connect to the emotions conveyed,” he adds.
The budding dancer’s repertoire is rooted in popular Hindu stories. However, he believes that the lack of constant exposure to the cultural environment in which Bharatanatyam thrives is a major drawback for international dancers. “In India, music and dance are everywhere. Preserving authenticity is like planting a seed in new soil but nurturing it with the same care, so it stays true to its roots,” shares the 14-year-old.
For Akshath, dancing in Chennai during Margazhi feels like stepping into the very heart of Bharatanatyam. “The city is filled with music and dance, and audiences watch with deep understanding. Back home, audiences are smaller and less nuanced. They watch with curiosity rather than knowledge.”
Akshath Piram will perform on December 29 at 5.30 pm.
Bringing Anandham to the city from the UK
Divya Ramkumar, born in Kerala and currently residing in the United Kingdom, was exposed to Bharatanatyam, Kuchipudi, Mohiniyattam, and folk dance from the age of five. “The training was rigorous, and I continued learning until Class 12,” she states, adding that she went on to pursue a professional career afterwards. However, a void always followed her, and she eventually realised that dance was the missing piece in the puzzle.
“I moved to Singapore, Saudi Arabia, and the UK for work. After performing Bharatanatyam on limited occasions, many parents began sending their children to learn. Fifteen years ago, this led to the birth of Natyanjali School of Dance in Cambridge, UK, which now functions with 110 students,” she adds.
This marks Divya’s first Margazhi performance in Chennai. Comparing audiences in India and abroad, she notes, “Here, we have a more informed crowd. Abroad, audiences are more open because they may not know the technical details. International performers can explore nuances in India while introducing our classical art to foreign audiences with greater freedom.”
To connect with audiences, she often explains or narrates the story of the piece. One challenge she highlights is that performers abroad usually get to showcase only short pieces, which limits creative freedom. Divya is set to perform a piece filled with love and joy titled Anandham. “It has always been my dream to perform in Chennai during the Margazhi season,” says the 44-year-old.
Divya will perform on December 27 at 7.30 pm.