In Hinduism Lord Shiva is one of the principal deities, revered as a powerful figure. Shiva is known as the Destroyer and is often invoked through the fierce power of his cosmic Tandava dance. Yet, beyond this image of strength and intensity lies another aspect, Ananda Shiva, the embodiment of bliss. The shloka presented in this piece, Daridra Dukh Dahanaya shloka, praises him as the compassionate one who burns away sorrow and suffering.

One of the most widely performed Taal (beat) cycles in Hindustani classical music and dance is Teen taal. This rhythmic cycle is a recurring pattern of 16 beats. The dancer will be presenting traditional elements of Kathak: uthans, thaats, aamads, tukdas, parans, parmelus and tihais. It showcases the grandeur of Kathak’s rhythmic vocabulary. In this next performance, Bhairavi Kumar will present before you several beautiful traditional compositions by Pandita Uma Dogra and the legendary Pandit Durgalal.

A uniquely recorded taal in 11 beats, this piece showcases the beauty of rhythm in its fast-paced (drut laya) structure. Interspersed with the soulful vocals of Shri Manoj Desai, here is a presentation of eleven compositions in this rare 11-beat cycle. Through intricate footwork and precise rhythmic dialogues, the dancers explores the uncommon cycle of eleven, highlighting Kathak’s depth and versatility.

This Ashtapadi from Jayadeva’s Gita Govinda, “Sakhi He Keshi Madana Maudaram”, is a lyrical confession of love. Radha turns to her friend, her sakhi, and openly shares the joy and tenderness she experiences in her union with Krishna. The verses celebrate both human intimacy and the soul’s longing for the divine, making them at once romantic and deeply spiritual. In Kathak, these emotions are expressed through subtle gestures, glances, and complete immersion in feeling. 'Sakhi He' transforms this love into poetry.

A vibrant exposition of rhythm set in a cycle of 14 beats, this presentation showcases intricate nritta (pure dance) and the play of laya (speed) through footwork, tihais, and rhythmic compositions from Vilambit to Dhrut (slow to fast). Choreographed by Vidushi Uma Dogra, performed by Sayali Goswami.

In Kathak the dancer journeys from slow (vilambit) to medium (madhya) and finally to fast (dhrut) tempo, where rhythm and energy peak. In this presentation, Bhairavi Kumar showcases Teentaal in its exhilarating fast tempo, with intricate footwork, swift spins, and dynamic compositions that bring out the vibrancy of Kathak.

'Ae Ri Sakhi' portrays two Nayikas, two women in love. One, radiant in anticipation, prepares to welcome her husband and vows never to let him go again. The other, weighed down by separation, clings to letters that promise his return, yet he never comes. Together, they embody love’s two extremes: the joy of reunion and the ache of absence.

A Tarana is a traditional composition in Hindustani classical music that uses rhythmic syllables instead of lyrics. In Kathak, it is performed to highlight graceful movements, intricate footwork, and the joyous interplay of melody and rhythm.