Posted on 23 January 2026:
Echoes of Tradition: Bengal’s First Margazhi Utsavam Illuminates Kolkata’s Cultural Soul
On the serene evening of January 20th, 2026, the sacred precincts of Sri Guruvayurappan Temple in Kolkata blossomed into a vibrant confluence of rhythm, devotion and heritage. The First Bengal Margazhi Utsavam, curated by Prabaha Kalabhoomi marked a historic moment for Bengal’s classical arts landscape—an offering of reverence and celebration that resonated far beyond the temple walls.
Held in fond remembrance of Pandit Shri R Visweswaran and Shri Kalamandalam V R Venkitt, the evening unfolded under the spiritual blessings of Padmashri Guru Smt Chitra Visweswaran.
The Bengal Margazhi Utsavam, unfolding like a sacred raga, honored the timeless artistry of Shri G. V. Subramanian, Shri R. Joyi Kumar, Dr. Thankamani Kutti, Prof. Amita Dutt, Dr. Mahua Mukherjee and Smt. Priti Patel—etching its resonance as a luminous chapter in the cultural calendar of the city.
Natyashri Smt Debjani Chatterjee, the visionary behind the curation, orchestrated a tapestry of performances that honored legacy while embracing the pulse of contemporary expression. The event was not merely a gathering—it was a sanctified celebration of Margazhi, the Tamil month of devotion and artistic fervor, now finding its voice in Bengal’s cultural heart.
A Tapestry of Tradition: Celebrating the Classical Arts
Presented by Santoshpur Prabaha Kalabhoomi, the festival’s art programs became a living mosaic of India’s classical dance heritage, each performance a prayer in motion.
From the ethereal grace of Manipuri by Baishali Sarkar to the rhythmic elegance of Kathak by Shramana Chattopadhyay and Koyeliya Bhattacharya, the stage shimmered with diversity and depth. Anusree Kundu’s Mohiniattam mesmerised all.
Satabdi Acharyya brought Bengal’s spirit alive through Gaudiya Nritya, presenting Putana Moksha from Shrikrishna Vijaya. With Pandit Amitava Mukherjee’s soulful vocals and Dr. Mahua Mukherjee’s choreography, the temple courtyard became a sanctum of devotion—each movement etched into the sacred memory of Margazhi.
Bharatanrityam found vibrant expression in the performances of Roshmi Bandopadhyay, Monojit Saha, Ritambhara Roy, and Rupali Dasgupta—each dancer weaving stories with every gesture and glance. Odissi’s sculptural beauty was embodied by Susnigdho Chakraborty and Garima Bhattacharya, grounding the evening in ancient elegance.
THUS, IN THEIR UNION OF RHYTHM AND REVERENCE, THE COURTYARD ITSELF BECAME A LIVING MANUSCRIPT—EACH GESTURE INSCRIBING MARGAZHI’S SACRED SPIRIT INTO TIMELESS MEMORY.
