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Date & Time

Monday Mon, 29 Jan 2024


Bangalore International Centre
7, 4th Main Road, Domlur II Stage
Bangalore, Karnataka 560071 India

This solo dance production thematises the story of Goddess Kamakshi.

Generally, the story that is being told is Manmadha, the Lord of Love, is requested to disturb the penance of Lord Shiva, so that Lord Shiva can unite with Rudrani and thereby the child (Karthikeya) they beget can kill Tarakasura. But it is noted that, between Manmadhadahanam and Kumarasambhavam, there is a gap of 60,000 years, as stated in Lalithobhākyanam/ Lalithā Mahātmya from Brahmanda Puranam.

It is said that Bhandasura came from the ashes of Manmadha, after Lord Shiva burnt him with this third eye. To put an end to his menace, the Goddess herself manifests as Kameswari (Kamakshi) and kills Bhandasura to ashes, not before marrying Kameswara, a manifestation of Lord Shiva. It is from the ashes of Bhandasura that Manmadha is resurrected again and Kumarasambhavam happens. This is the mythological story.

Bhandasura symbolises our five deadly sins and Goddess Kamakshi, the ultimate supreme. Thus, the spiritual story that is being conveyed is how a person becomes enslaved by the five deadly sins and how the Goddess herself, being the ultimate supreme, comes to our rescue, when we run out of control even though we are equipped to lead a better life of truth, consciousness and bliss.

The lyrics for the script are adapted from Sri Lalitha Sahasranama, Soundarya Lahiri, Mooka Panchas’athi, Rajarajeswari Choornika and Kamakshi Suprabhatam.

Concept, Research, Script, Dance Composition, Nattuvangam, Extract & Narration: D Dilip
Music Composition & Vocal: Srikanth Gopalakrishnan
Mridangam, Kanjira & Jathi: Guru Bharadwaaj
Flute: J B Sruthi Sagar
Veena: Anjani Srinivasan
Tabla & Damaru: Ganapathi
Idakka: Sumesh
Mandolin: Jayavigneshwar
Sound Engineer: Saravanan Subramaniam
Recorded at Aarabhi Studios

Supported by:


D Dilip


Introduced to tradition and culture by his late grandmother, V Shantha Bai, Dilip’s passion for the arts emerged in childhood. He began learning classical dance in 2012, focusing on Kuchipudi under the guidance of Guru Kalaimamani Sailaja and Saila Sudha. Inspired by various classical dances, he incorporates comparative study methods from his graduate studies.

Dilip’s unyielding curiosity led him to explore dance and music extensively, evolving into a Nattuvangam and Stree Vesham artist. Additionally, he learned Carnatic vocal from Kalaimamani Smt. Rajeswari, Thiruvidaimaruthur Sri. S. Radhakrishnan, and Karaikal Sri. Venkatasubramanian, and Mridangam for a year from Sri. Bakthan, Pondicherry. Dilip is a recipient of the Ministry of Culture’s ‘Scholarship to Young Artist’ by CCRT.