— Narasimhan Vijayaraghavan
There are evenings in the Margazhi season when art transcends performance and becomes quiet testimony. One such evening unfolded on Monday, 29th December 2025, at 5.30 p.m., at the Bharatiya Vidya Bhavan, Mylapore, under the auspices of Karthik Fine Arts. On that winter evening, Mummurthigalin Manikangal — The Trinity’s Rubies emerged not merely as a dance recital, but as a moving act of remembrance, resilience, and renewal. What lent the occasion its special gravity was not just the repertoire chosen, but the lived experience that infused every movement on stage.
For Guru Kalaimamani Roja Kannan, this presentation marked far more than another entry in a long and distinguished artistic journey. In her opening words, she spoke with quiet candour of the difficult years she had traversed — years marked by serious health challenges that could well have silenced a less resolute spirit. Yet here she stood, restored not merely in body but in purpose, sustained by an unshakeable faith in her art and by the unwavering presence of her students. Their loyalty, discipline, and affection were palpable, forming an invisible shield around their mentor. What unfolded on stage was thus as much a personal renaissance as it was a classical performance.
The evening opened with Syama Sastri’s Kamakshi Swarajathi in Bhairavi, rendered with repose and emotional depth. The choice itself seemed symbolic — an invocation to the Divine Mother, a seeker’s plea for strength and grace. The choreography reflected an inward stillness, as though the dancer’s body had absorbed years of contemplation and now released it through measured movement. One sensed that the performance was as much an act of gratitude as it was of artistry.
The programme then turned to Muthuswamy Dikshitar, whose 250th birth anniversary lends special resonance to this season. His Ananda Natana Prakasam unfolded in rich colour and rhythmic clarity, celebrating the cosmic dance of Nataraja. Here, the ensemble moved with renewed vitality, the choreography blossoming into confident patterns that spoke of endurance regained. The joy was unmistakable — not exuberant, but assured — as though the dancers were affirming their place within a lineage far greater than themselves.
The evening reached its spiritual crest with Tyagaraja’s Endaro Mahanubhavulu, the crown jewel of the Pancharatna Kritis. In this final offering, the performers bowed not only to the saint-composer but to all those who have walked the path of devotion before them. The synchrony of movement, the restraint of expression, and the quiet dignity of the presentation made the moment deeply affecting. Even for those unfamiliar with the grammar of Bharatanatyam, the sincerity of the offering was unmistakable.
In the end, the performance stood as a testament — to resilience in the face of adversity, to the sustaining power of the guru–shishya bond, and to the enduring life of the Trinity’s music across centuries. On that evening at Bharatiya Vidya Bhavan, devotion did not merely find expression; it found embodiment. And in doing so, it reminded the audience that true art does not fade — it waits, patiently, to be reborn through those who believe in it.
