Malavika Sarukkai’s new work ‘Beeja’ shows how Bharatanatyam makes room for contemporary themes

Being on stage under the spotlight and enjoying the adoration of the audience is an experience artistes cherish. But what goes behind creating these moments of glory often remains unseen — it’s in the privacy of the rehearsal space, behind the quiet walls that a performance takes shape over many hours of practice.

“I have spent most part of my life here,” says Malavika Sarukkai, sitting on the wooden swing in the aesthetic and airy rehearsal area of her house in Valmiki Nagar, Chennai. A part of it opens to the sky, and you can spot an old bougainvillea tree standing like a silent spectator. A huge mirror on the wall reflects her movements and expressions, while beautiful idols of Nataraja and Dakshinamurthy lend a divine touch. Located in the centre of the house, the space bridges the world of visitors with the private quarters of the dancer, as if drawing a subtle link between the outer and the inner realms.

“When I practise with the orchestra, this space resonates with sound and energy. Yet, there are times when I love to sit here alone, particularly when I am working on a production. It allows me to rethink and rework ideas and choreography,” says the celebrated dancer, as she prepares to stage her new work ‘Beeja — Earth Seed’ in Chennai.

Tracing the seed of joy that has turned into despair because of the destruction humans have unleashed on fellow beings and Nature, the production emerges as a poignant commentary on the contemporary world, now caught in disastrous conflict. “With every performance (previously staged in Mumbai, Delhi, Ahmedabad, Bengaluru and Washington DC), I witness new disturbances, which make me wonder if I should say something more through the work. At such times, art must move beyond beauty, becoming a powerful tool to heal minds, grapple with loss and inspire people to replace hatred with love and empathy,” says Malavika, explaining the genesis of ‘Beeja’.

Malavika Sarukkai connect audiences with larger issues through her dance.
| Photo Credit:
B. Velankanni Raj

Looking at the world through an artistic lens is not new for Malavika, who began using the grammar of her dance form to connect audiences with larger issues. “Of course, to begin with, you must master the vocabulary and repertoire. Once I felt ready to chart my own course, I used the technique of the margam to create works that resonated with me, and eventually with people as well. When you truly believe in what you want to create, it does gain a distinct flavour. I wanted my dance to be restrained, immersed in stylisation and infused with a certain spark. If you ask me what it feels like to dance, I would say, it is liberating.”

Standing at the cusp of 50 years of dancing, Malavika remains a curious choreographer, determined to take her art to places she wants it to travel to. “But this effort does not stop with ideation. You must explore boldly, giving your imagination the wings it deserves. As I recently said at a lec-dem at the Bangalore International Centre, you have to think in terms of history, culture, music, lighting, costume, movement and expression — and all of these must come together. It is tough, exhaustive. You have to attempt it if your work needs to stand out,” she explains.

This is the reason Malavika launched the Kalavaahini Trust — to mentor young enthusiasts. Having gained immensely from her art, she was keen to give something back. “As the Trust completes 10 years, I feel even more enthused to share my insights with youngsters keen to pursue their passion with commitment. I hope they embrace the art not as imitation but as discovery and bring their creativity to stage through the Kalavaahini annual dance festival,“ says Malavika.

In ‘Beeja’, the great Banyan Tree stands as a sentinel from the past, bearing witness as the piece unravels themes of passion, greed and aggression. It reminds one of the bougainvillea, Malavika’s steadfast companion during rehearsals, showcasing the need to hold on to endearing aspects of life amid constant change.

It was a tree that inspired Malavika to create ‘Beeja’. While travelling through the hills, she came across a sign on a tree that read: ‘I was once a seed that held its ground.’ Those words stirred her imagination, eventually blossoming into a full-fledged work. When she shared the idea with her longtime creative collaborator Sumantra Ghoshal, he envisioned it through nine poems that became the script of ‘Beeja’. And just as the tree, Malavika remains rooted even as she branches out with fresh ideas.

Sound of the seed

Music composition is by Rajkumar Bharathi. And Sai Shravanam is the music producer and sound designer, who has created a 3D bubble using an ambisonic soundscape (for the first time in an Indian classical dance performance). He also incorporates instruments such as the frame drum, Chinese bawa, cello, sitar and tabla, which are unusual choices for a Bharatanatyam orchestra. Apart from pre-recorded music, mridangist Nellai Balaji and vocalist Krithika Aravind will perform live. Niranjan Gokhale has come up with inventive light design.

Published – March 24, 2026 07:19 pm IST