Medai’s Preeti Banerjee shares what the Margazhi festival has in store for Bengaluru audiences this year

The margazhi season (mid-December to mid-January) is considered sacred in Tamil culture and is dedicated to devotion and spirituality. It is often associated with the recitation of hymns like the Tiruppavai by Andal and Tiruvempavai by Manikkavachagar. The festival pays homage to the classical arts, deeply rooted in Tamil culture and tradition. The festival serves as a platform for both veteran artistes and upcoming talents to showcase their skills. Even though the margazhi season has become synonymous with the city of Chennai, its significance here in Bengaluru can’t be overlooked. Spearheaded by Medai – The Stage Bengaluru, the margazhi festival was brought to Bengaluru last year and already has quite the loyal following. Medai is a state-of-the-art black box theatre in Koramangala, which has become a hub for diverse performances, offering a platform for traditional and contemporary art forms. The upcoming second edition of Margazhi at Medai promises performances from various classical dance forms, including bharatanatyam, kathak, kuchipudi and more. We get chatty with Preeti Banerjee, director of cultural events, Medai – The Stage Bengaluru, who lets us in on all the deets you need to know.

What can the audience expect from this edition of Margazhi at Medai?

Last year, we did it for only one week. There were only a few performances that we did but this year it is for one month (December 15 to January 13). Initially, we planned it only for 15 days, but then we got a very good response and a lot of artistes applied to perform at the festival. So, we had to extend the festival for one month. Last year, only artistes from Bengaluru and a few groups participated. This time we have solo, duet and group performances. We have artistes, not only from Bengaluru but also from Chennai, Hyderabad, Pune, Delhi and even from the US and UK. Last year was more like an experiment to see how things go and with the positive reviews we received, we had to make this one bigger.

You mentioned that a lot more artistes would be performing in this edition. How were they selected?

Some of the artistes were invited but most of them had applied. We asked them to send their videos. We have a programming committee which includes senior dancers. We all sat together and gave the slots to the performers based on their performance. The biggest thing we did this time was that we opened a few slots for dancers who have just finished their arangetram (a debut performance for a student of bharatanatyam). We received 400 applications this time, out of which 90 people are performing. There are 90 performances including solo, duet and group, so close to 150 dancers will be performing.

How difficult was it to plan the whole festival?

The idea was that we wanted to go slowly. I wanted to do it for one month and fortunately it is happening for one month. As I said, we received 400 applications and trust me, there were so many deserving people but I had to give the slots to the slightly better ones. In terms of the scheduling, last year we did only one performance per day. This year on weekdays we are doing a minimum of two to three performances.

When one talks about margazhi, the first thought that comes to mind is Chennai. But do you think there is an audience in Bengaluru for a margazhi festival?

Yes, there is. Last year, when we announced the festival, I received numerous calls and messages asking if we would host it again. That enthusiasm has only grown. Senior dancers also expressed their support, emphasising the need for such an event in Bengaluru. Although Bengaluru already hosts performances during the season, they are scattered across different venues. The idea behind this festival was to bring everything together under one roof. This way, audiences don’t have to travel to Chennai to experience the spirit of margazhi. Instead, they can enjoy it here in their own city. Some even choose to watch specific performers in Bengaluru. This is only the second year, and people are still adjusting to the idea of a margazhi in Bengaluru. However, we’re confident it will grow, both for performers who want a local platform and for audiences who prefer staying closer to home. The response so far has been promising and we aim to establish this festival as a staple on Bengaluru’s cultural calendar.

What were some of the challenges you came across while working on the festival?

One of the first challenges was having to tell applicants, “Sorry, your profile got rejected.” It’s something I feel very bad about, but I always remind myself that there’s another opportunity next year. Another major challenge was managing the large number of applications from artistes who aren’t based in Bengaluru. Scheduling their performances in a way that ensures they get a good audience was tricky. As I had to consider factors like weekday slots, I focused on timing them for when I knew people could attend, saying, “Even if it is Bengaluru traffic, 7.30 or 8 pm is the time where I know the audience will come.” Ticket sales are another persistent challenge for classical performances. As I’ve often said, selling tickets for a classical dancer is the biggest challenge. At Medai, we don’t typically host free shows unless it’s an annual day. For Margazhi at Medai, we decided to keep all events ticketed. It’s important to me that artistes understand the value of their work. Why should you watch it for free? We, as artistes, invest so much in our craft. We need to bring up that art form. As an organiser, I firmly believe in this principle. Don’t do free shows. Even if you sell five tickets, it’s still something. You’re earning and adding value to your art. These challenges — scheduling and ticket sales — are ongoing, but they’re part of the journey to elevate classical arts and ensure their sustainability.

How many dance forms can the audience expect?

We have bharatanatyam, of course, along with odishi, kathak, kuchipudi and mohiniyattam. However, manipuri, sattriya and kathakali are not part of this year’s lineup. I’m hopeful that next year we’ll be able to include these dance forms. These are such beautiful art forms, especially manipuri and sattriya from the Northeast, but they face challenges. For instance, these forms are not as prominent in South India, which makes building an audience for them difficult. I believe it’s our responsibility to work towards promoting these art forms. It’s a challenge, but I’m optimistic that with time and effort, we can bring them to a wider audience. Ultimately, my focus is on providing both the performers and the audience a platform to connect and appreciate the richness of our classical traditions.

You yourself are an odishi dancer? How did your journey as an artiste begin?

I started learning dance later than most, during my first year of college. My father’s army job meant we moved frequently and my mother, from a theatre background, always pushed me toward the arts. Once we settled in Kolkata, she insisted I learn dance and I chose odishi. I trained with Arpita Venkatesh until 2015, then briefly under Sharmila Mukerjee in Bengaluru. Due to health issues, I took a break, but when I started working with Medai, I knew I needed to stay involved with it. I’ve tried corporate life, but one day, I decided to quit. My manager called me ‘crazy,’ but I had strong support from my colleagues and they’re still curious about my work in the arts. After my break, I’m getting back into dancing and balancing it with running Medai. I’ve performed in festivals like Konark, Mukteshwar and Kalaghoda and even toured internationally. Now, I’m slowly figuring out how to get back on stage while managing everything else.

INR 300 onwards. December 15 to January 13. At Koramangala.

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