Samanvay Arts Festival marks 50 years of Sri Rajarajeshwari Kalaniketan with a confluence of classical and contemporary dance traditions
Marking the 50th anniversary of Sri Rajarajeshwari Kalaniketan — the Samanvay Arts Festival 2026 will bring together celebrated names from Indian classical and contemporary dance. Curated by Sangeet Natak Akademi Awardee Veena Murthy Vijay — the day-long festival will feature Veena Murthy Vijay (kuchipudi), Anuradha Vikranth and Parshwanath Upadhye (bharatanatiyam), Krishnamurthy Thunga (yakshagana), Aayana Dance Company (Indian contemporary movement) and Ravali Mylarpavu in a solo bharatanatiyam presentation. The evening will feature a piece on Satyabhama, with bharatanatiyam exponent and actress Lakshmi Gopalaswamy alongside leading classical artistes, followed by Apsara, bringing together dancers across traditions to explore the journey of celestial dancers from Devaloka to Bhuloka. Speaking about the festival, Veena discusses the 50-year journey of Sri Rajarajeshwari Kalaniketan, the idea of bringing different dance traditions together through Samanvay and her vision of keeping classical dance relevant and accessible to younger audiences.
Sri Rajarajeshwari Kalaniketan is completing 50 years. What does this milestone mean to you and how has the institution evolved over these years?
For me, 50 years of Sri Rajarajeshwari Kalaniketan is not merely a milestone, but a deeply emotional journey of sadhana, commitment and continuity. Founded by my father, PNS Murthy, in 1975, the institution has grown from a traditional dance school into a centre for learning, performance and research — nurturing generations of students in bharatanatiyam and kuchipudi. While the institution has evolved, its core philosophy remains unchanged: respect for the guru-shishya parampara, dedication to the art and the belief that classical dance must remain a living tradition. Samanvay 50 is a celebration of both our journey and the future.
What inspired the idea for Samanvay Arts Festival?
The word Samanvay means coming together, harmony and confluence. That idea has always been close to my heart. India has an extraordinary wealth of classical and traditional dance forms, each with its own grammar, history and aesthetics — yet all ultimately speak the universal language of expression. I wanted Samanvay to become a space where these traditions could meet without losing their individual identities. For me, Samanvay represents unity without uniformity. When different traditions come together, we discover both their uniqueness and their underlying connections. It also gives artistes an opportunity to look beyond their own forms and learn new things from one another.
The morning session — Adavu Jam — brings together bharatanatiyam, kuchipudi, yakshagana and contemporary movement. What can audiences expect from this unusual format?
Adavu Jam is an experiment in looking at movement itself. An adavu brings together technique, rhythm, body and energy and I wanted to place different movement traditions alongside one another. Audiences will see bharatanatiyam, kuchipudi, yakshagana and contemporary movement in an energetic and interactive format, exploring how they can converse across traditions. I will also present 20 new kuchipudi adavu patterns based on a study of the convergence and divergence between yakshagana and kuchipudi. I hope younger audiences see classical dance as a living vocabulary that can inspire new forms of movement and expression.
Satyabhama brings together four dance forms to portray one heroine. What drew you to Satyabhama?
Satyabhama has always fascinated me because she is such a complex and powerful woman. In kuchipudi, she is immortalised through Bhamakalapam, the iconic dance-drama associated with Siddhendra Yogi. But I wanted to explore the many facets of her life: as the daughter of Satrajit, Krishna’s wife, queen and a woman who experiences love, separation, jealousy and vulnerability. In Satyabhama, kuchipudi, bharatanatiyam, kathak and mohiniyattam interpret different dimensions of the heroine. The journey culminates in Satyabhama writing a letter to Krishna and sending it through his favourite symbol — the peacock feather. The peacock is drawn with the feet while dancing, making the moment both visual and symbolic. For me, this is what it means to keep tradition relevant: not changing its essence, but finding new ways for audiences to enter its world.
Apsara explores the journey of celestial dancers from Devaloka to Bhuloka. What aspects of these stories did you want to highlight?
Apsara looks at the celestial women of our mythology not merely as beautiful dancers from Devaloka, but as women with stories, choices, emotions and consequences. We have brought together 11 apsaras, portrayed by outstanding dancers from different Indian classical traditions, with music composed by Praveen D Rao. I have directed the production. Through characters such as Urvashi, Menaka, Vishvachi and Harini, we explore the connection between the celestial and earthly worlds and how these ancient stories can resonate with contemporary life. I wanted to move beyond the stereotypical image of the apsara as simply a celestial beauty and ask who these women were beyond mythology and what their stories can tell us today.
INR 100 onwards. September 19, 9.30 am. At Chowdiah Memorial Hall, Vyalikaval.
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