On Navaratri find the Shakti within you

Sikkil Gurucharan, Carnatic vocalist

Sikkil Gurucharan.
| Photo Credit:
Special Arrangement

Several decades ago, as a young boy, when I was asked to sing a kriti for Lakshmi pooja, I sheepishly declared that a school prayer was all I knew, only to be reminded by my teacher that the famous geetham ‘Varaveena’ is on Mahalakshmi. This led me on a path of imbibing the nuances of the lyrics. Students of Carnatic music usually learn a song even before grappling with the concepts of Bhakti and Shakti. The quest still continues, especially when I sing kritis of Muthuswami Dikshitar on Devi, ranging from the simple tunes of the nottuswaras like ‘Shyamale Meenakshi’ and ‘Kamalasana’ to the exceptional ‘Kamalamba Navavarnam’. The last is more esoteric with tantrik, geometric and religious details of the Sri Chakram and its nine enclosures. The beauty of the lyrics of the Navavarnam comes through in the 11 ragas they are set in. Equally beautiful are the works of Syama Sastri, especially his ‘Ratna Thrayam’. I experience a sense of surrender when singing it. Ragas Bhairavi, Thodi and Yadhukulakamboji help convey the magnificence of Kanchi Kamakshi as described in the lyrics. Swati Tirunal and Papanasam Sivan have also shared with us their musical and spiritual fervour. Muthiah Bhagavatar’s creation in raga Niroshta is unique – it omits the only two swaras ‘ma’ and ‘pa’ where the lips touch. All this for a kriti on Vagdevi, no less!

When I embarked on a collaborative music journey with Anil Srinivasan in 2006, I felt Kali and Durga manifest in different ways while rendering the timeless ‘Chinnanjiru pen pole’ along with ‘Bhavani dayani’, both in the raga Sindhubhairavi. Particularly noteworthy is the manner in which Anil interpreted and visualised Durga as a little girl playing hopscotch on the banks of Sivaganga in Chidambaram. Subramanya Bharati’s ‘Nenjukku neethi’, ‘Kani nilam’ and ‘Thondru nigazhndha’ are powerful paeans to Shakti and Bharata Mata.

Speaking of bhakti towards our nation, it was not until I sang for Just Us Repertory’s play, Rural Phantasy, that I discovered the joy of learning the full version of Bankim Chandra Chatterjee’s ‘Vande Mataram’ as a Ragamalika, which eventually found its way into my concert repertoire. The contours of Carnatic music are vast enough to include contemporary themes as well. A thillana where the lyrics not only extol Shakti to grant power to humankind but also humankind to respect every woman as Shakti is a personal favourite. Music as a veritable force of Nature can spur us to appreciate new concepts, including worship of Shakti. By the time you read this article, I would probably be singing in celebration of Devi this Navaratri, starting with ‘Varaveena’!

Sanjukta Sinha, Kathak dancer

Kathak dancer Sanjukta Sinha.
| Photo Credit:
FARUQUI AM

A Bengali by birth, I grew up watching Devi being worshipped as the embodiment of Shakti. As a child, the powerful divine energy during Durga puja captivated me — the resonant voice of Birendra Krishna Bhadra reciting the ‘Chandipath’, soothing tunes of Agomoni (arrival of the goddess), foot-tapping beats of the dhak and the infectious energy of the dhunuchi naach. Each time I encountered the idol of Durga, I associated her with a formidable feminine force — a warrior, a woman of immense strength destined to conquer the world. Raised in an open-minded family, I felt empowered and believed I had everything I needed, which inspired me to pursue my passion for dance.

A Durga puja pandal illuminated with lights as part of Navaratri festival, in Dinajpur, Kolkata.  
| Photo Credit:
ANI

When I began to perform on stage, I felt physically invincible and thought that was the essence of Shakti. But the journey hasn’t been easy. The challenges, the fears, the uncertainity…you feel emotionally drained. It was then that I truly discovered what Shakti means to me. It isn’t merely an external force; it’s the power that resides within. It transcends tools and weapons; it’s about cultivating inner confidence and confronting one’s own fears and demons.

Now, I understand Shakti as a pure flow — a dynamic, creative energy, a life force that propels you from within. As a performer, I have come to appreciate my true position. I no longer wish to dance merely for the sake of movement; I yearn for that divine force to guide my movements. In this sense, it’s not just me dancing — there’s a greater energy inspiring my creativity and expression. I have a dream project centered around Shakti, and I hope to bring it to life very soon.

Meera Sreenarayanan, Bharatanatyam dancer

From Meera Sreenarayanan’s ‘Harini’.
| Photo Credit:
K.V. SRINIVASAN

As a dancer who has embodied the divine feminine through compositions on Devi, my understanding of Shakti has evolved beyond viewing her as a distant goddess. Initially, I encountered Shakti in familiar forms — Radha for Krishna, Parvati for Shiva, Saraswati for Brahma, and Lakshmi for Vishnu. However, as I delved deeper into her essence, especially in my production ‘Harini’, Shakti transformed into more than just a deity. She became the nurturing mother, the guiding guru, and the force that prepares devotees for divine grace. The realisation that even Vishnu and Shiva await their Shakti’s consent before bestowing blessings reshaped my perception of her role.

Shakti is not a mere consort; she is the force that drives creation, sustenance, and transformation. Sivagamasundari does not just observe Nataraja’s dance, she facilitates it. In this sense, Shakti transcends the traditional idea of being a complement to the masculine. She is the power behind all movement and change. However, there is often a disconnect between how we revere Shakti in rituals and acknowledgement of her presence in everyday life. Too often, we celebrate her in festivals yet overlook her presence within ourselves and others.

As a dancer, I feel that art helps bridge this gap, making Shakti not just a symbol but a lived reality. I’ve seen Shakti in my mother, who held our family together, in my grandmother’s quiet strength, and now within myself as I balance motherhood and dance.

The Sanskrit word śak, meaning ‘to be able’, perfectly encapsulates Shakti’s essence. She enables, bears, and endures — not just in cosmic terms but in every being. At this stage of my journey, what strikes me most is how Shakti transcends gender, religion, and myth. It is the hope within all of us, waiting to be awakened, fuelling our dreams and actions. Shakti is the pulse that keeps the universe in motion and the force that drives us to dance, dream, and create. It is both the cause of my dance and the dance itself. When we recognise and honour Shakti within ourselves, true magic begins.

Malini Awasthi, folk and thumri artiste

Folk and thumri singer Malini Awasthi
| Photo Credit:
FARUQUI AM

As an artiste, particularly a female artiste, I believe that creativity is a form of Shakti. The energy that empowers you to imagine and manifest on stage, in whichever form you want, is again a beautiful, abstract power of that divine Shakti that artistes are blessed with.

As a folk artiste, I have got the opportunity to understand the deeper significance of worshipping the goddess. In folk traditions, she is seen as someone protecting the land (Bhudevi), the family (Kuldevi) and against illness (Sheetala Devi). And Nature plays a significant role in this worship.

The songs that I perform go beyond describing Devi’s attributes. They tell you how to conquer the demons in your life. We usually do not realise how empowering music can be. We do not always have to look at the Devi in the temple or the prayer room — strong women (shakti) are all around you.

Sawani Shende, Hindustani vocalist

Hindustani vocalist Sawani Shende.
| Photo Credit:
Special Arrangement

Right from my training years, I was made to understand the importance of knowing the meaning of the lyrics to convey the emotions in them. However, it was during the recording of my album ‘Devi Ragamala’ that I experienced the deeper impact of lyrics. The amazing verses were penned by Saurabh Savoor and set in different ragas. While singing them, I began to think about my own negative and positive energies. I seemed to discover my true self through the words. Even today when I sing them at concerts, they make me think and introspect. Gradually I realised, Shakti is the everyday existence of a woman.