Signature Programmes
Embracing Legacy, Empowering Traditional Arts
Katradi deeply respects and values the profound wealth of knowledge carried by art forms since ancient times. We draw from their pedagogies and ways of learning to spark creativity, healing, and transformation in the present. These art forms also teach the rare skill of empathetic communication - the ability to listen, connect, and respond with sensitivity (Rasa Theory). By tapping into these timeless traditions, we not only create powerful art and celebrate cultural heritage, but also use them as living tools for dialogue and social change. Our work is not about fossilising traditions or replicating performances of the past; while we support traditional art forms, we also reimagine and create new performances around narratives that are urgent and relevant today. In this way, Katradi ensures that the arts remain contextually grounded, dynamic, and transformative.
However, despite India’s rich cultural heritage, support for the arts often takes a back seat, leaving artists vulnerable during crises. One of the pressing challenges faced by traditional culture is the encroachment of mainstream art forms, especially influenced by popular music from Bollywood and Kollywood. This has led to the neglect and even abandonment of indigenous forms by some communities. The shift is often tied to questions of power and status, as marginalised communities are pressured to adopt art forms associated with upper castes or dominant cultures.
At Katradi, we throw ourselves wholeheartedly into creating spaces where the diversity of traditional arts is both celebrated and mobilised for transformation. Our work flows through four key pathways:
1. Katradi Youth Dance Theatre
At the heart of Katradi is our vibrant Youth Dance Theatre based in Kalavai Kootroad - a collective of children and young people ranging from six years old to seasoned youth performers. They all come from Dalit backgrounds (historically labelled “untouchable”) or Bahujan communities (groups historically marginalised as “backward classes”), many of them from families of traditional artists whose art forms have long been denied recognition and support. Rooted in these strong artistic lineages, the children display extraordinary talent - even at very young ages they are able to pick up complex rhythms, gestures, and movements with remarkable ease. Guided by our in-house teachers - Thilagavathi Palani, Moogambigai Murugesan, and Sangeeta Isvaran - and enriched by the wisdom of guest artists, they are trained in multiple traditions while being exposed to diverse art forms. Their exceptional talent and creativity make this group one of rare calibre, carrying forward tradition while fearlessly creating new performances around pressing social themes.
The troupe has performed widely at local and village festivals, as well as at leading cultural platforms in Chennai and Bangalore, presenting both traditional repertoires such as Bharatanatyam, Kattaikkuttu, Parai, Oyilattam, Kavadi, Karagam, Oppari, and more, alongside innovative new works.
Highlights of our Youth Dance Theatre include:
Performing at Kalakshetra (2022): A landmark moment came when the troupe performed at the prestigious Kalakshetra auditorium in Chennai for the launch of a book on Dr. Muthulakshmi Reddy, authored by VR Devika.
Creating New Performances: Among their most impactful works is Shhh… Listen! - a multidisciplinary play on urban wetland conservation. Commissioned by the Student Conference on Conservation Science (SCCS), it premiered at the Tata Auditorium, IISc Bangalore (2024) and later at the Bangalore International Centre (2025). Blending Kattaikkuttu, Parai, Oyilattam, Oppari, and Bharatanatyam, the play draws attention to fragile yet vital beings like frogs, dragonflies, and marshland plants, confronting audiences with both the grief of ecological destruction and the call to see wetlands not as wastelands, but as lifelines.
Our Flagship Programme - Lorry Lolakku: A travelling theatre where a lorry becomes the stage, Lorry Lolakku brings together professional artists from traditional performing arts communities, local community members, and young artists, including the Katradi Youth Dance Theatre, to create performances on themes of social injustice. Incorporating traditional dance, theatre, photography, and installation art, each project is a collaborative effort that brings the stories and perspectives of marginalised communities to life. For over a decade, across 80+ areas and 50,000+ people, Lorry Lolakku has stood as one of Katradi’s most celebrated initiatives and a vital force in shaping the Youth Dance Theatre, alongside partners like Sri Krishna Kattaikkuttu Kuzhu, led by our dynamic Centre Director, Thilagavathi Palani.
2. Cultural Conservation
Cultural Conservation: Recognising the fragility of artistic and oral traditions, especially when only a few elderly individuals are the keepers of such knowledge, Katradi is committed to preserving and safeguarding these legacies.
Culture and Nature Conservation - Nyolo Tuki: Initiatives like Nyolo Tuki in Arunachal Pradesh seamlessly blend cultural and nature conservation, documenting and passing traditional knowledge to future generations while raising awareness about fragile ecosystems. In collaboration with the Nature Conservation Foundation (NCF), Katradi brought to life the haunting love story of hornbills through the traditional Nyishi dirge Nyolo Tuki. Commissioned for the Pakke Paga Festival, the performance transformed the artists into hornbills, narrating a tale of devotion, loss, and survival in Arunachal Pradesh’s forests. Drawing on centuries-old songs preserved by Nyishi women like Mema Tok, the piece both safeguarded cultural heritage at risk of being lost and highlighted the plight of the hornbill population, moving audiences to tears and demonstrating the profound connection between cultural expression and nature conservation.
Munnétram - Carrying Kattaikkuttu Forward: We are also proud to support our Centre Director, Thilagavathi Palani, in her initiative, Munnétram, which was created to preserve and pass on the powerful theatre tradition of Tamil Nadu, Kattaikkuttu, to the next generation. In its first year, together with senior artists Guru Babu and Guru Kandeepan, Thilagavathi trained 60 young students across three villages, keeping alive an art form that has told stories through music, movement, and vibrant performances for centuries. Culminating in all-night village performances, Munnétram was more than a training programme. It has now become a movement to ensure Kattaikkuttu continues to thrive as a living legacy.
3. Pedagogies of Transformation
Pedagogies of Transformation: The origin of the Katradi Method lies in a verse from the Abhinaya Darpana, a 12th-century treatise on Indian dance-theatre. As a child, Sangeeta Isvaran, co-founder of Katradi, learnt this verse as part of her Bharatanatyam training. Practised from the most basic exercises to the most intricate choreographies, the verse highlights alignment and focus. Twenty years later, Sangeeta realised its deeper resonance for community development: true empathy requires the body and senses, the mind, the heart, and intuition to work together. Unlike education systems that privilege only intellectual learning, this ideology recognises that the roots of conflict, abuse, and discrimination are rarely rational; they are often sensory, emotional, and intuitive.
This realisation became the foundation of the Katradi Method , which is built on five mediums of understanding - physical, sensory, intellectual, emotional, and intuitive. Similarly, many pedagogical constructs from Indian art forms are researched and adapted into the Katradi Method, enriched further by founder Sangeeta Isvaran’s explorations in Southeast Asia and West Africa. These diverse principles and pedagogies of transformation ensure that the method remains dynamic, ever-evolving, and forward-looking. More than a theoretical construct, each Katradi module blends activities across these dimensions, engaging participants holistically. By combining empathy with positivity, the Katradi Method enables sustainable and deep-rooted transformation, a pedagogy that has touched communities in 35 countries across 5 continents.
4. Support for Artists
Support for Artists: Traditional artists form the backbone of our cultural heritage, yet most have no safety net when crises strike. When illness, sudden loss, or financial hardship arise, they are left without support systems to fall back on. At Katradi, we stand by them - not only during emergencies, but whenever they are in need. For many artists from marginalised backgrounds, our support becomes the bridge between despair and dignity. Our Centre Director, Thilagavathi Palani, plays a vital role as a connector: researching state schemes and other benefits, and helping artists register and access them. For many who come from non-literate or marginalised backgrounds, this kind of guidance is life-changing. Thilagavathi is our bridge to numerous artist and artisan communities, ensuring they are not left behind.
Our Communications and Admin Manager, Shrilakshmi Sridhar, brings her expertise in grant writing to support artists in accessing opportunities that might otherwise remain out of reach due to language barriers, particularly the inability to speak or write in English.
Our support includes:
Accessing Schemes and Opportunities: Many artists are unaware of the government schemes, insurances, or travel passes that exist for their well-being. Our Centre Director, Thilagavathi Palani, actively researches these options and helps artists navigate the paperwork, registration, and processes. Her role as a connector ensures that communities once excluded from such opportunities now gain rightful access to them.
Covid Relief and Crisis Support: During the pandemic, we provided rations and essential supplies to artists who had lost their livelihoods. At the same time, we created paid opportunities by collaborating with the Health Department to spread Covid awareness through performances. Over 80 villages were reached, with artists not only disseminating vital health information but also helping medical teams, facilitating vaccinations, and even assisting with oxygen supply. Many young artists emerged as courageous leaders for their communities during this time.
Education and Medical Support: Beyond crises, we continue to support the children of artist communities in accessing education and creating pathways to work opportunities. We also step in to cover medical expenses and emergency costs, standing beside families in moments of vulnerability and loss.
Through these efforts, Katradi strives to keep traditional art forms alive, empower artists, and foster a deeper appreciation for the cultural heritage of the region. By promoting the value and power of traditional arts, Katradi aims to create a more inclusive and vibrant artistic ecosystem in the face of modern influences and hegemonic forces.
Kattaikkuttu:
Kattaikkuttu is a traditional rural theater form from Tamil Nadu, South India. Performers sing, act, and dance while accompanied by musicians playing harmonium, mridangam, and mukavinai. It involves overnight narrative performances with about fifteen actors and musicians. The name comes from the actors' distinctive ornaments (kattai) and denotes theater (kuttu). Characters are recognised by their headwear and makeup. Kattaikkuttu is a cherished cultural tradition, blending drama, music, and dance to pass down stories and values.
A driving force in Katradi is our Centre Director, Thilagavathi Palani. She is the first female Kattaikkuttu artist to establish her own theatre company, founding the pioneering Sri Krishna Kattaikkuttu Kuzhu. Born from resilience and a determination to break barriers, the company carries forward the powerful tradition of Kattaikkuttu while challenging gender and caste inequalities. Rooted in community and cultural heritage, it creates space for new voices, inspiring children and audiences alike with performances that celebrate both art and empowerment.
Parai:
Parai is a traditional percussion art form indigenous to Tamil Nadu, South India. It involves the rhythmic beating of a cylindrical drum called the parai, made from animal skin and wood. The energetic beats produced by skilled parai artists create a vibrant and dynamic atmosphere. Parai was also used as a communication tool, conveying messages and announcements to the community. Today, it functions importantly as a ritualistic art form during festivals, wedding celebrations, when people are being feted in villages and even during funeral cortèges. Additionally it is recognised as a performance art with artists showcasing their mastery through rhythmic patterns and synchronised movements. Parai holds cultural significance and serves as a powerful medium for preserving Tamil traditions and heritage through its captivating rhythms and enthralling performances.
Silambam:
Silambam is a traditional martial art form originating from Tamil Nadu, South India. It involves the skilled wielding of a staff made of bamboo, known as the silambam. Practitioners exhibit a combination of fluid movements, precise strikes, and defensive techniques, showcasing both agility and strength. Silambam is not only a combat art but also a practice that emphasises self-control, focus, and the cultivation of inner discipline. It has been practiced for centuries and continues to be a cherished cultural tradition, preserving the rich heritage of Tamil Nadu's martial arts. Through the rhythmic and dynamic movements of silambam, practitioners pay homage to their ancestors and uphold the essence of this ancient art form. We are proud to support Sarala - one of the few women Silambam artists and an ISIRI fellow - in realising her dream of establishing a Silambam academy and inspiring future generations through this ancient martial art.
Oyilattam:
Oyilattam, meaning “dance of grace,” is a vibrant folk dance native to southern Tamil Nadu, especially Madurai, Tirunelveli, and Tiruchirapalli. Traditionally performed by men during post-harvest village festivals and temple celebrations, this dance features rhythmic footwork, colourful costumes, ankle bells, and handkerchiefs. Performers move in precise synchrony to the beat of the Thavil drum, often enacting stories from epics such as the Ramayana or tales of Lord Muruga. Over time, women have also embraced the form, bringing renewed energy and continuity to this community-rooted tradition.
Kavadi Aattam:
Kavadi Aattam is a profoundly devotional dance that unfolds during festivals like Thaipusam in honour of Lord Murugan. Embodying the Tamil word “Kavadi” - meaning “burden” - devotees carry elaborate structures balanced on their shoulders as an act of penance or gratitude, often following rigorous preparation and purification. The performance involves not just physical endurance, but a spiritual journey, and may include piercing the skin or carrying symbolic offerings. Accompanied by rhythmic chants and percussive music, this dance becomes a moving testament to faith, sacrifice, and communal devotion.
Karagam (Karakattam):
Karakattam, derived from the Tamil words karakram (“water pot”) and attam (“dance”), is an ancient folk art performed primarily in honour of the rain goddess Mariamman. Dancers balance ornate pots, occasionally filled with water, on their heads and move gracefully to the melodic strains of nadaswaram and thavil, often in festivals and fairs. Variations like Aatta Karagam focus on entertainment and celebration, while Sakthi Karagam takes on a more spiritual dimension, performed as an offering within temples. The dance is visually stunning and symbolises prayer for rain and prosperity.
Oppari
Oppari is an ancient Tamil folk tradition of mourning and lamentation, typically performed at funerals by female relatives of the deceased. Less a structured song and more a spontaneous outpouring of grief, Oppari blends eulogies, poetic wordplay, and raw emotional expression - performed with chest-beating and rhythmic accompaniment on drums. Often improvised, the lyrics highlight family bonds and local stories, providing both catharsis for mourners and a communal act of empathy. Sadly, alongside modernisation, the practice is slowly fading, particularly in urban areas.
Bharatanatyam:
Bharatanatyam, originating from Tamil Nadu, is one of the oldest and most revered performing arts of India. Recognised as one of the first forms to be granted classical dance status, it is widely celebrated for its intricate footwork, expressive gestures, rhythmic precision, and storytelling rooted in mythological and spiritual themes. Yet, while Bharatanatyam enjoys prestige, many artists within the form remain marginalised, especially those from Dalit and economically disadvantaged communities. Today, pursuing Bharatanatyam often demands significant financial resources, caste-based patronage, and entrenched gendered patriarchy, making it inaccessible for many talented individuals. At Katradi, we work to counter this imbalance by creating pathways for those who would otherwise be excluded. By supporting and training artists from such backgrounds, we honour not only the living traditions of Bharatanatyam but also its deeper heritage, rooted in the history of the Devadasis - women once dedicated to temples as custodians of dance and music. Our commitment is to keep Bharatanatyam accessible, vibrant, and representative of all voices, ensuring the art form continues to evolve as a true cultural inheritance for future generations.