Sri Vidya, the bright knowledge of the goddess, and the cosmic mother, Tripura Sundari, standing in the form of the crown jewelry of the Shakta Tantra. The spiritual tradition of Shri Vidya lies in the worship of power, which celebrates God as both creator and creation.
Although popularly known as Naveen, nine Critis means, the Kamalamba series by Muthuswamy Deekshati contains eleven compositions. Book by a meditative work and a Mangala Kriti, these tasks are a music pilgrimage through the holy enclosures (Airanas) of Sri Chakra, with Kamalamba, presiding over Kamalanagaram (Tiruvarur), with Kamalamba. The compositions of Dikshitar publish each infrastructure, which guides the seeker from the outer class to the innermost point, where the goddess herself lives.
Dixit, an enthusiastic goddess Upasaka, carefully crafts each work to reflect the geometry, gods, mantras and esoteric qualities of each Avarrana. The songs are dense with Sanskrit grammar, each work appoints a separate Vibha (case), which uses all eight cases, Kamalamba, Kamalambam, and so, closing in Kamalambik.
The talent of the deekshati is not only in its command of Sanskrit but also in its adventurous raga options. He follows Venkatmakhin Samapradaya, classifying the ragas into the Melakarta, Upanga and Bhasga categories. While nine Central Critis has this spectrum of Kalyani and Shankara Bharanam, representing the Melakarta Ragas, Sahna, Bhairavi, and Anandabherivi, and represents Kamboji, Punnagavarali, Gant and Aliri. Each raga is chosen not only for its melodious beauty, but also for its symbolic resonance with this Aman.
The compositions of Dikshitar methodically illuminate each infrastructure, from the outer class to the innermost point, guide the seeker,
As Sumitra Nitin, Karnataka singer and Bharatanatyam dancer, explains, their juices of Kalyani and Shankara Bharanam, the raga which is different from only one note, ‘medium’ was a deliberate academic step. “She has shown you that these waves have no meaning,” she says, “This is the prayer that is the matter.” In other words, the essence of a raga is not on its scale, but in its emotional grammar. “Through these Critis, the convish teaches us how to sing, but how to understand,” she says.
For Sumitra, the idea for a unique presentation of these crites came in an unpredictable moment of cool reflection. This inspiration came from Sri Chakra Yantra Painting by Rekha Krishnan. “I then began to dream about the program,” she remembers, “where I could showcase the synergy between this ancient visual art and intensive newvarna compositions.” Although initially unfamiliar with the Critis, Rekha’s journey soon joined Sumitra’s vision, leading to the bridge and aesthetical cooperation to the aesthetics.
When Sumitra approached Rekha to cooperate with Kamalamba Nawavarna Critis’s full-conferred performance, the time was Sirdipitus. By then Rekha himself had become Shri Vidya Upasaka. “I am now in Shri Vidya Darshan,” she shares. Rekha formed a completely new series of paintings, each infected with his spiritual understanding of this Aman.
Rekha Krishnan’s visual interpretation of each Avna will be introduced on the screen in the event.
This vision now comes to an upcoming thematic program called ‘Sri Chakra’, which is held on July 20 at Shri Thaga Brahma Gan Sabha (Vani Mahal), at 10 pm, Sumitra introduced a lake-dem of Kamalamba Navarvarna Critis, which was with nine students of Natyasret. As such compositions appear, the visual interpretation of each avarani on the line will be introduced on the screen. A contingent of music artists consists of Sivateja Malzosula on Violin and Abhiram Nitin on Mrdadangam.
When asked about her interpretation of the newlyna Critis, it was a hurry to clarify Sumitra: “I follow the Patantaram of Semangudi Srinivas Year.” He learned a couple of crites directly and his mentor T. More absorbed through Rukmini, which is also a disciple of Semangudi. This lineage is not about rigorous replication but about aesthetics purification.
Sumitra took a challenge with humility and determination as a teacher. Referring to the sheer complexity of the newlynam, he taught them “slowly”, often “only one line or maximum two lines per square.” Many of his students are in school, some are in college. Nevertheless, through patience and perseverance, a contingent of young artists reached the occasion.
One may assume that to compose such spiritually powerful music, a musician can simplify his music structure. But the deekshati did the opposite. “They challenged themselves in their own way,” says Sumitra. From using all eight vibhaktis to compose in a rare rhythm such as the 14-Ekara Chakra for the seventh Avna, Dikshitar applied complex situations on themselves, only to cross them. In doing so, he not only composed Critis, he expanded a lot of boundaries of Karnataka music.
During the performance, Shri Chakra Pictures of Rekha on Rekha will be displayed. , “These visuals will add a new dimension to the criterion,” says Sumitra.
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Published – July 16, 2025 10:49 am IST
