Smriti 2025

Meghna Venkat (Day 1 & 3)

The Smriti festival stands as a heartfelt tribute to the late Pt. Birju Maharaj,  conceptualised and curated by his senior disciple, Neha Banerjee, Artistic Director of the Kathak Darpan Institute. Smriti, meaning 'memory,' is much more than a commemorative event. It is a vibrant celebration of art in its entirety, embodying the very essence of Pt. Birju Maharaj, who believed in honouring every classical tradition. From Kathak to Bharatanatyam, Odissi to Kathakali, Smriti embraces the diversity of India’s rich cultural heritage—mirroring Maharaj’s  vision.

Day One

Smriti commenced with a gentle drizzle at Kalakshetra’s Rukmini Arangam. The lamp was lit by Naatyaachaarya V.P Dhananjayan and Shantha Dhananajayan), eminent dancers Shovana Narayan and Sashwathi Sen. 

The disciples of Neha Banerjee, Kathak Darpan Group, Chennai, opened with a tarana in Teen taal, dressed in white skirts with red blouses. The choreography made effective use of space with well-conceived formations. The dancers, though sincere, could benefit from more time rehearsing together for greater precision.

The award ceremony followed, where the Pandit Birju Maharaj Smriti Award was presented to eminent artists Zakir Hussain and the Dhananjayans, and the Birju Maharaj Yuva Puraskar to Shanky Singh, Kathak dancer.

Taufiq Qureshi, the African Djembe player and younger brother of tabla maestro Zakir Hussain then presented his craft on African drums adapted to the Indian style. His opening was a Teen taal, accompanied by Vivek Misra on tabla and Jayavardhan on harmonium. In the next piece, Neha Banerjee joined him in a Kathak presentation. This amalgamation, set to a bandish of Zakir Hussain originally composed for Sitara Devi, offered Chennai audiences a glimpse of the authentic Lucknow gharana — a rare experience.

The evening concluded with a performance by Shovana Narayan. With her clarity of movement and thought, she captivated the audience through tihais portrayed through damaru and bansuri, Naag and Radha Krishna Jhoola. Her vast experience resonated strongly on stage. She also presented Yashodhara, portraying the silent strength of the woman who gave Buddha to the world. The depiction of Gautama’s three sights, which turned him towards renunciation, was poignant. The conclusion, where Yashodhara lay helpless at his departure, left a lasting impression.

Day Two

Sapna Rangaswamy

On the second day of the 3rd edition of Smriti festival, Pt Birju Maharaj’s prime disciple Sasvati Sen paid tribute to her guru. Her performance was on the five elements. The narration and the music of five elements were interesting and it was she who has guided the narration and music. Her expressions spoke about her love for Kathak. Saswati's performance was both graceful and captivating. Her artistry shone through, leaving a lasting impression on the audience. She reminded us of the great Balasaraswati when she presented the immortal composition Krishna Nee Begane…. Sasvati Sen, 72, and still dancing, commanded a standing ovation.

Following this performance was a performance by the students of Kuchipudi Art Academy. They presented an invocatory -  Namami nagaja choreographed by Srimai Vempati set in ragamalika, and talamalika,

Folowing this was Marakatha manimaya – raga Arabhi, tala- Adi, choreographed by guru Vempati Chinna Satyam and a Senjuruti tillana by Vempati Ravishankar in Tisra tala.

Lakshmi Kameshvari, the grand-daughter of Vempati Chinna Satyam, stole the show with her nritta and nrutya. Her dance reminded me so much of late Vempati Ravishankar, Kalpalathika and Srimai. The dancers of the Kuchipudi Art Academy left the audience spellbound and slowly made them join the rhythm and tala.

Music is an important part of Kuchipudi. It connects the dancer to her audience. The live orchestra complemented the dance and dancers. One can see Vempati Ravishankar in Aneesh Vempati’s nattuvangam. Aneesh is the grandson of Vempati Chinna Satyam. He also takes care of lights for most of the dance performances.

It was heartwarming to see Vemapti Srimayi along with her two children carrying forward the legacy of Vempati Chinna Satyam. Srimai has successfully brought back the vibrant energy of the olden times of the Kuchipudi Art Academy.             

Day Three

Meghna Venkat

The final day began with a Natya Katha by veteran dancer Sonal Mansingh, who narrated the story of Meera Bai. Her reliance on Bharati Vritti, with music used sparingly, made the storytelling compelling. Beginning with Meera’s childhood moment of receiving a Krishna idol, the performance traced her journey until her union with Krishna. The staging was thoughtfully done, and her dialogue delivery carried depth and devotion. Her use of abhinaya and fluid gesture gave life to the narrative. The closing scene, where Meera merges with Krishna leaving her garland behind, was deeply moving.

This was followed by Shanky Singh’s Kathak recital. In a soft green angarakha, he began with Teen taal in vilambit laya, incorporating tihais that evoked the gait of an elephant and even a typewriter. A touching moment was when his guru Sashwathi Sen joined him on bols, visibly moved by his progress. He continued with Sri Krishna katha, Tum maihō kahua jamuna kinare with restrained abhinaya, and then with a viyog sringara on Radha’s separation from Krishna. While thoughtful, the emotion did not always reach the audience with the intensity intended.

The festival closed with Mohini Attam by Gopika Varma. She presented Sathyabhama Garva Bhangam, narrating the story of Krishna Tulabharam. The playful jealousy between Rukmini and Sathyabhama, Krishna’s balance between them, and the grandeur of his many gopis were depicted with finesse. With expectations heightened, the climax could perhaps have been more sharply etched.

Her final piece, Tiruvadurai paatu Pankajakshi, portraying Krishna and Rukmini’s game of dice. Krishna wins her with his enchanting eyes and steals her kisses.

Overall, Smriti was thoughtfully curated, bringing diverse forms and artistes of stature to Chennai. Though audiences were fewer, those who attended experienced rare artistry and valuable glimpses into traditions that continue to inspire.