On 15 June 2025, the Sri Dakshinamurti Auditorium in Mylapore, Chennai, became the confluence of scholarship and artistry, as the Central Sanskrit University, New Delhi, in association with the Dr. V. Raghavan Centre for Performing Arts and The Samskrita Ranga, hosted the Rastriya Sangitaa Natya Nataka Sammelanam. This national-level conference paid homage to the enduring legacy of Dr. V. Raghavan, renowned scholar, aesthete, and cultural visionary.

Conceptualised and coordinated by scholar and Bharatanatyam exponent Nandini Ramani, daughter of V. Raghavan and Managing Trustee of the Dr. V. Raghavan Centre, the conference seamlessly integrated erudite lecturedemonstrations, highlighting the relevance of Sanskrit as both the textual and philosophical bedrock of Indian performing traditions. Eminent guests, including Prof. Shrinivasa Varakhedi, Vice Chancellor of Central Sanskrit University, and Sandhya Purecha, Chairman of Sangeet Natak Akademi, delivered keynote addresses.

Prof Varakhedi lauded Dr.V. Raghavan’s deep scholarship and spiritual dedication, reflected on his prolific writings. He underscored Sanskrit’s omnipresence in Indian arts, calling it the Atma-bhasa and Deva-bhasa. Sanskrit, he emphasised, refines regional languages and remains central to music, dance, and theatre.

Sandhya Purecha emphasised the Natya Sastra as not just a manual but a Darsana—a transformative vision. She highlighted the triad of sastra (structure), sampradaya (style), and parampara (continuity) as the foundation of Indian arts. Sanskrit, she noted, must be learned as a means to embody tradition and rasa, urging performers to engage with the original texts. She defined an artist as a torchbearer of dharma, integrating scripture, tradition, and lived lineage. Sanskrit, as a codified system, remains vital to cultural continuity and self-understanding.

The sessions featured a rich tapestry of themes—from lyrical explorations of Nayikas and the Purvaranga traditions in Bharatanatyam to the Sanskrit roots of Kerala’s performance heritage and the Marga system of abhinaya. It was also heartwarming to see a hall filled with eminent artists, scholars and students of music and dance.

The sessions

Sumithra Vasudev: Musical Forms in sangeetha and nataka traditions

Sumithra explored musical structure within classical traditions, detailing how music functions as angi (main) or anga (support). Drawing from treatises like Sangita Ratnakara and Chaturdandi Prakasika. She also discussed gandharva (marga) and gana (desi) traditions; nibaddha (structured) and anibaddha (free) forms, the four musical forms—alapa, thaya, geeta, prabandha , kalpita (pre-composed) vs manodharma (improvised) music. She explained the rasa-evoking role of ragas in theatre, with swaras like ma and pa for sringara, and ga and ni for karuna. Sumithra also highlighted Raghavan’s legacy in choosing apt ragas in Sanskrit plays—e.g., Jhankara Dhvani in Sakuntalam.

Anupama Kylash – The Nayikas of Sringara Manjari: A lyrical exploration

Anupama Kylash explored Sringara Manjari, a 17th century lyrical text by Syed Shah Khalimullah Husaini (Akbar Shah)—a saint, poet, and cultural visionary. The Sanskrit version was introduced by V. Raghavan based on manuscripts from Mysore and Tanjavur. She outlined the text’s structure, beginning with a mangala-sarana that praises both Hindu deities and Muslim patrons. The author critiques earlier rasa treatises and offers a refined classification of nayaka-nayika bhavas, expanding on texts like Rasamanjari and Amodha.

Anupama concluded that Vaisnava poetry excludes the Samanya Nayika, as all feminine love centers on Krishna, the singular Nayaka. Nandini Ramani also gave insights into Samudra Sangama Grantha (translated by Dr. Raghavan), attributed to Prince Dara Shikoh, which highlights spiritual commonalities between the Quran and the Upanishads.

Srimati Madkholkar – Purvarangavidhi in the Mysore bani of Bharatanatyam

Srimati explained how Purvaranga Vidhi, from the 5th chapter of the Natya Sastra, outlines 19 rituals performed before a dramatic presentation to sanctify the performance space. In the Mysore Bani, these rituals have been adapted into performance practices such as—pratyahara, avatara, arambha, asravana, vakrapani, parighatana, sangotana. These reflect traditional sound checks, invocations, and preparations—seen across Indian classical forms.

She traced the Mysore Bani’s evolution through the Chalukyan, Vijayanagar, and Wodeyar periods. The Mysore court, especially under Krishnaraja Wodeyar and Jayachamaraja Wodeyar, saw the rise of distinct Bharatanatyam traditions, with Jatti Thayamma pioneering its expressive depth and ritual fidelity. Srimati also described how dancers offered salutations, circled the stage, and sang invocations in raga Arabhi, including verses like Bharatakula Bhagyakalike and performed items such as Ganapati sabdam, Ekamresvara sabdam (distinct from standard sabdam repertoire).

Her presentation, enhanced by demonstration, showcased the stylistic and ritualistic elegance of the Mysore Bani. She acknowledged key exponents Jatti Thayamma, Venkatalakshamma, and Lalitha Srinivasan. The session emphasised the synthesis of Natya Sastra principles with Mysore’s rich aesthetic and ritual traditions, preserving Bharatanatyam as sacred and scholarly.

Aneish P. Rajan: Sanskrit Traditions of Performance in Kerala

This session focused on the exploration of Koodiyattam, Kerala’s ancient Sanskrit ritual theatre, examining its linguistic, cultural, and performative uniqueness.

Aneish highlighted that Koodiyattam, one of the oldest living Sanskrit theatre traditions, possibly even predates the Natya Sastra and was traditionally performed within temple premises. The art form is a rich confluence of Dravidian and Sanskrit elements, deeply ritualistic and sacred in its essence. V. Raghavan played a pivotal role in the modern documentation and revival of this ancient tradition. Nandini Ramani further underscored Raghavan’s significant efforts in re-contextualising Koodiyattam, enabling its performance and appreciation beyond the temple confines.

Aneish also spoke about Kerala’s Sanskrit heritage, which is both rich and distinctive, with the state holding the highest per capita Sanskrit usage in India. Historical records such as Kerala Kaumudi (1810) showcase unique Sanskrit expressions specific to the region. This deep linguistic interweaving is also seen in Chambu Tamil—a blend of Sanskrit and Tamil—exemplified by works like the Baasha Ramayana Chambu.

Aneish also explored the etymology of Chakkiyar, a community closely associated with Koodiyattam, which is equally intriguing. The term may have originated from Shakiya-yoni, referencing the Buddhist Sakya clan, or is perhaps mentioned in classical Tamil texts like the Silappadikaram, pointing to non-Brahminical, Buddhist, and Tamil-Keralite roots.

He also spoke about how Koodiyattam seamlessly integrates the three primary media of Sanskrit performance—pictorial representation, oral recitation (as performed by granthikas or kathakas), and enactment. What sets Koodiyattam apart is its ability to embody all three, even allowing non-human actors such as deities to assume roles—such as a deity becoming Lakshmana in the Soorpanakha episode. The performance tradition is supported by a set of meticulous manuals including the Hastalaksana Dipika (a lexicon of gestures), Attaprakaram (a guide for actors), and Kramadipika (protocols for staging). The poorvaranga vidhi in Koodiyattam is even more elaborate than what is prescribed in the Natya Sastra, involving multi-day rituals before the main performance begins.

Further, he also spoke on Koodiyattam’s ritual core lies - the Nithyakriya rites—like Purappadu, Mizhavu, and Arangu Thali—where the actor ritually enters the role. Performances follow with panchavidha vinyasam and Tevaram offerings, notably omitting Bharata, pointing to origins outside the Natya Sastra. Narrative segments such as Nirvahanam span days, while Patakam may explore a single verse for hours. Unlike the visual flourish of Kathakali, Koodiyattam adopts a minimalist, breath-led style with a few ragas, mudras, and a meditative stance. The nadankusa segment, where the vidusaka critiques the action through satire, was illustrated in a rare video. Rooted in Kerala’s Sanskrit-Dravidian blend, he said. Koodiyattam survives today through the work of scholars like V. Raghavan and committed artists. 

Ketu Ramachandrasekhar – Natyadharmi in Sanskrit Theatre

Ketu Ramachandrasekhar delivered a profound lecture on Natyadharmi—the stylised, idealistic mode of Sanskrit dramaturgy. The session included a demonstration from Saktibhadra’s Ascarya Chudamani (Varnasalangam segment), performed by P.G. Subramaniam, with live music by Sumitra Vasudev (vocal), Mudikondan Ramesh (veena), and Venkatasubramaniam (mridangam).

The lecture explored the distinctions between natyadharmi and Lokadharmi, with the former being symbolic, codified, and idealistic— designed to elevate emotion through suggestion (vyangya) and rasa—while the latter is mimetic and rooted in realism. Sanskrit theatre, as exemplified in Uttara Rama Charita, deftly blends this idealism with social critique. Ramachandrasekhar traced its cultural grounding to the Chola-era temple traditions like Arya Koothu, supported by epigraphic records and treatises such as Bhava Prakasa, which detail the performance of dasa rupakas and upa rupakas. Philosophically, quoting Abhinavagupta and V. Raghavan, he stressed that art’s purpose is not to imitate but to reveal, where a single stylised gesture can encapsulate profound emotional meaning—reinforcing the continued relevance of Natyadharmi in today’s world. The lecture also covered the six types of sara abhinaya described in Chapter 22 of the Natya Sastra, the concept of Kaksa Vibhaga (symbolic stage zones), and Kaladharmi, which transcends temporal realism. 

A demonstration by P.G.Subramanyam, grounded in Bharatanatyam, illustrated suchaka abhinaya (indicative acting) and the Natyadharmi aesthetic, with the musical ensemble enriching the emotional experience. 

During Ketu Ramachandrasekhar’s talk, P. G. Subramanyan demonstrated the creation of the Parnasaala, with the verse in Natya choreographed by Nandini Ramani.atya presented by Nandini Ramani.

The session underscored the enduring relevance of Sanskrit drama in our fragmented, hyper real age. Ramachandrasekhar concluded by stating, “If Natyadharmi is idealism, then Sanskrit drama becomes a stage for ideal psychology, emotional intelligence, and dharmic imagination.”

Piyal Bhattacharya – Marga system of Abhinaya

In a deeply immersive presentation, Piyal Bhattacharya unfolded the Marga system—a holistic Sanskrit theatre tradition rooted in the Natyasastra, reconstructed through rigorous scholarship, embodiment, and pedagogy.

Piyal Bhattacharya’s presentation delved into the core concepts of Marga, not merely as a stylistic category but as a spiritual path—a transcendental journey from the material to the spiritual, rooted in rasa, bhava, and Kaisiki Vritti. Unlike regional Desi styles, Marga is universal and philosophical, aiming at inner transformation. Central to this path is the de-personalisation of the performer, where, through sthana (posture), breath alignment, and rigorous training, the body becomes a sacred instrument, moving from personal ego toward cosmic alignment. The nabhi ksetra (navel centre) plays a vital role in facilitating prana flow, with parallels drawn to disciplines like Kalari, Aikido, and Kathakali. Dietary discipline (ahara-niyama) is integral, reinforcing the connection between physical, energetic, and spiritual well-being. The practice of karana was emphasised not merely as technique, but as sadhana—with gestures (kriya), rhythm (tala), and movement from the navel to the head viewed as vital energy pathways. A demonstration of Bhujanga Trasita karana illustrated this flow of prana. Philosophically, roles like the Sootradhara, nata, and nati are seen not just as dramatic characters but as elevated states of consciousness. Marga thus aligns performance with siva-loka—a realm of bliss and pure awareness. Bhattacharya’s exposition reflected the lived experience of a sadhaka, where performance becomes prayer, the body becomes sarira, and art becomes a transformative vehicle. His emphasis on reviving the four foundational pillars of Natya—Aharya, Natyam, Vadya, and Gita—reaffirmed the deeply spiritual vision of Bharata’s aesthetic philosophy.

Conclusion

The Sammelanam proved to be an intellectually invigorating and artistically enriching confluence, reaffirming the vitality of Sanskrit theatre and performance traditions. It offered not a retrospective gaze at a fading past, but a compelling view of Sanskrit dramaturgy as a living, breathing tradition—one of philosophical depth, artistic nuance, and spiritual resonance. The sessions illuminated how this tradition is not merely performative, but transformative—where every gesture becomes a philosophical statement, every movement a spiritual act, and every performance an invitation to deeper awareness. The scholarly clarity, demonstrative depth, and devotional sincerity that marked the proceedings brought alive the timelessness of natya, rooted in sastra yet resonant with contemporary relevance. Above all, the Sammelanam stood as a testament to the power of sangama—of ideas, aesthetics, lineages, and rasikas—coming together in joyful harmony. It offered not just insight, but ananda—a joy that arises when thought, tradition, and art flow as one.

PRIYA MURLE

(Bharatanatyam dancer and teacher)