Circa 1927. The ‘December season’ that brings the world’s traditional music and dance enthusiasts together in Chennai, takes birth. Cut to circa 2016. The Tamil month of Margazhi becomes synonymous with the confluence of seasoned and upcoming artistes from across the globe. But there have definitely been significant changes in the performances over these years — the flashy yellow and green dance costumes have almost disappeared from stages (perhaps for good!), and men are no longer playing it too safe with just white dhotis and kurtas.
Even as Margazhi is spoken of as a time to celebrate traditions, the sabha-hopping-millennials have found ways to spice it up with their choice of attires. It is no longer about the five-inch-bordered-pattu-sarees and kilos of jewellery for the artistes —innovation is the name of the game. If you’re a Margazhi noob, keep this guide handy to hit the right fashion notes the next time you decide to dress up for a sabha — we promise it doesn’t involve two dozen noisy bangles!
Margazhi-veteran Sudha Raghunathan has made a name for herself not just for her beautiful musical renditions, but also her choice of colours and the most attractive pattus she wears, her bindi and the vibhuti, with a string of malli poo that falls over her shoulder, oh so gracefully! On how important an artiste’s dressing sense is for a performance, Sudha says, “Music definitely takes a powerful stand and we have to give it that due. However, dressing up is so that we embellish our presence and make people happy. When a singer is static and renders kritis in a language that people don’t understand, it is important to have a pleasant presentation. My guru M. L. Vasanthakumari has always said that a singer must look smart on stage — so, I avoid picking anything that’s too dull.”
Madhulika Kapilavayi, a young designer who runs ‘Margazhi - Contemporary Design House’, in the city, says music lovers attending the sabhas can experiment with some maroons, greens and mango yellow shades, to keep it trendy. “One can try out the neon bindis so the whole look isn’t too flashy. Accessories are where one can go as creative as they want to, with different kinds of chokers, temple jewellery and kundan jewellery,” she suggests.
With a dab of light make up, you’re good to go! But remember not to go overboard on that foundation, as you’re not going to be on stage and could be stealing the artiste’s thunder... which is a no-no. Economics and the rising prices of silks have been the main factor for the artiste’s shift towards other textiles, says danseuse and choreographer Anita Ratnam.
“The need to innovate in terms of textiles, colours and textures came in with the economics. There has also been a coming together of fashion and dance closer, with many from the design world attempting costumes for the performers, while previously there were only tailors. There is also a great hunger to stand out, with too many artistes and visuals that play huge roles,” she explains.
Ever since she started performing during the Margazhi season about four years ago, the same amount of effort goes into designing her outfits, as it goes into curating her concerts, says singer Pragathi Guruprasad. “I think it’s not about looking fashionable, but since many people come to listen to me sing, it’s the same number of people who are going to be looking at me, so artistes need to look presentable. Trends are changing, as many performers are paying more attention to the way they look. I make sure I wear a different colour combination for each concert, depending on whether it is indoors or outdoors — the textiles are mostly Banarasi, Kalamkari, Paramparapattus, and I pair them with temple jewellery.”
Although men have fewer outfit options, as wearing a dhoti is a must, there is still space for creativity, says Carnatic singer Rithvik Raja — “The way we present ourselves is as important as the singing itself in the realm of a performing art. I do make sure my clothes are well thought of. Usually I see many picking the usual white. But I really like orchestrating different colours, so as to go well with the back drop — it’s a creative process. Earlier I would try mustards and rusty colours, but this season I got designer Lakshmi Srinath adding in purples, blues and greens to my wardrobe.”
It’s all about pushing the boundaries towards comfort a little more with each costume, says dancer Archana Raja, with colours like black becoming a part of costumes, unlike earlier times. “There are no more traditional yellow and bright maroons for Bharatanatyam outfits. People are looking at which fabrics are the most comfortable. Even jewellery is taking a more antique form and don’t necessarily abide by the customary jewellery that one is expected to wear.”
