Medai Margazhi and the many voices of classical dance today

Margazhi in Chennai has its own rhythm, marked by early mornings, tightly packed schedules, and familiar faces flitting between sabhas. But every season, a few festivals quietly rework that rhythm from the inside. Medai Margazhi is one such fest.

How Medai Margazhi quietly expands Chennai’s classical dance landscape

Stretching across 102 performances, the festival is staged not just in Chennai but also in Bengaluru and Coimbatore, bringing together dancers from across India and from cities as far-flung as Dubai, Singapore, the US, and Canada.

At the helm is Shakira Mukthar, artistic and executive director of Medai, who frames the festival less as a showcase and more as a shared ground. “This festival has been imagined as an open and inclusive space,” she says. “Alongside well-known and established dancers, we consciously create room for young and emerging artistes who are still finding their voice.” That balance between experience and emergence sits at the heart of the festival’s curatorial identity.

Unlike Margazhi line-ups that lean heavily on a single form, this programme spans Bharatanatyam, Mohiniyattam, Kathak, and Kuchipudi, allowing audiences to move between styles and sensibilities within a single season. “The idea has always been to celebrate both tradition and the evolving journeys of artistes,” Shakira adds.

Managing a festival of this scale, 102 performances across multiple cities, some ticketed and others open, is no small task. “It is undoubtedly a demanding process,” she admits, “but it is driven by a genuine love for the performing arts.” Equal care, she says, goes into every performance, regardless of the artiste’s seniority. “Each performance is treated with equal importance, ensuring smooth transitions and maintaining artistic quality throughout the season.”

On the selection process, she adds, “The intention is not just to present familiar names, but to curate a thoughtful and diverse programme that represents the breadth and depth of classical dance today.”

For young duet partners Sambhavi and Suganya, performing at the festival is as much about ethics as exposure. “Performing here is a matter of pride and honour,” they say, pointing to Medai’s willingness to collaborate meaningfully with artistes at a time when many platforms demand fees. Their performance consciously steps away from familiar themes. “During the Margazhi season, we see more performances around the theme of Krishna and Andal. We wanted to provide a variety.”

Asked whether performing during Margazhi changes their preparation, they say, “While our overall approach may not change entirely, it certainly encourages us to think about exploring and experimenting with different themes, approaches, methods of preparation, and modes of performance.”

That desire to experiment finds resonance with experienced artistes too. Dhanya Varun, presenting Thulir with students of Sadhir Natya Mandram, describes Medai as a space that trusts intent. “The platform does not constrain the work within predefined themes or expectations; instead, it offers the freedom to pursue ideas that are abstract, process-driven, and conceptually different.”

For dancers based abroad, Medai Margazhi often becomes a point of reconnection. US-based Sweta Ravisankar describes performing in Chennai during Margazhi as “returning to the roots of the tree.” She values the rigour of Chennai audiences as much as the emotional continuity of performing before mentors, family, and long-time rasikas. “Stepping onto a stage in Chennai, especially during Margazhi, carries a different charge,” she says.

On how Chennai audiences respond differently to her work compared to international audiences, she shares, “Chennai and Indian audiences tend to be more steeped in the grammar, history, and aesthetics of Bharatanatyam, so responses often include nuanced observations about technique, choreography, raga–tala choices, and how the work sits within a lineage. This also means more experts and senior rasikas may be present, which invites rigorous critique too.”

Dubai-based Shreya Baiju, a first-time performer at the festival, echoes a contrast. “From what I’ve observed, international audiences tend to respond more emotionally and visually, as they connect with the storytelling and the overall feeling of the performance,” she says.

Reflecting on what the season signifies beyond the stage, Shreya concludes, “Although I haven’t been part of the Margazhi season yet, it already feels like a homecoming in spirit. Margazhi represents everything classical dance stands for — dedication, tradition, and community — and being in Chennai during this time feels like stepping into a space where art is central to everyday life.”

₹300 onwards. On till January 13. At Medai – The Stage, Chennai, Alwarpet.

Email: shivani@newindianexpress.com
X: @ShivaniIllakiya

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