he article offers a phenomenological outlook of the Bhagavata Mela Natakam, a ritualistic theatrical tradition of South India, as it was studied by the author in an unusual situation in March 2020 and later. This was the beginning of an “unfinished journey” of the author to make further probe into a new situation of greater fluidity and flexibility, when the meaning and content of the tradition went trough transformation, though its basic character remained unchanged. Bhagavata Mela Natakam, a dance drama, is performed mostly in Telugu in the vicinity of Thanjavur and, more particularly, in Melattur, Tamil Nadu. It is related to the annual celebration of Narasimha Jayanti and performed by the bhagavatas (bhagavatars), those who worship Vishnu as a supreme god. The tradition of performance can be unfolded within the framework of the history of South India, the evolution of bhakti, cultural and religious ties between Tamil Nadu and Andhra, the local history of Thanjavur as well as the story-telling practice, which is an essential component of the whole exercise. The author describes the situation and limitations of her ethnographic fieldwork in 2020, acknowledges the help of several informants whose memories, stories and narrations became the main sources to reconstruct the most important elements of the tradition. The main focus here is on the artistic and social dynamics of the Bhagavata Mela Natakam as a socio-cultural and devotional phenomenon and as an institution. It describes its historical context, its evolution, social dynamics as well as several beliefs which find expression as spells or states of enchantment associated with the performance. The main thesis of the article is that today this tradition is drifting between socially exclusive practices and an inclusive art of wider coverage, and this “journey” of traversing opposite directions remains unfinished. Not only did Brahman males as religious specialists traditionally participate in troupes, for many years there were serious restrictions on the change of the locus and venues of performance, allowing the structural order to continue. The opening of the space, vocal content of the performance and social outlook of the performers are important considerations. Marathi dramas (natakams) constitute an important part in the Melattur troupe’s heritage, which can be traced back to the 18 century. What is more, since 1930s the theosophists and dance reformers redirected their attention to Bhagavata Mela Natakam as a part of all-Indian cultural heritage, which transcends known local and regional limits maintained so long with rigidity. In the Indian context, it has assumed an added significance and valid till today.