Aaheli Chakraborty | Krishna Varnan

Krishna Varnan is a composition written, composed, and originally choreographed by Padma Vibhushan Pt. Birju Maharaj Ji. This song beautifully describes Krishna and his joyful mood. Recorded and arranged by Sri Chandrachur Bhattacharya, this is composed in Taal Rupak (7 beats). 

This is a vibrant and joyful composition that describes Lord Krishna dancing with Radha and the gopis. The lyrics vividly portray the lively atmosphere with rhythmic patterns and musical sounds.The sweet tunes of the flute resonate, and the beats of the daf and jhanj (traditional percussion instruments) create an enchanting musical backdrop. This composition captures the essence of Krishna's playful and joyous dance, filled with energy and devotion.

Kriti Rakesh | The Pink City

The Pink City - traditional teentaal repertoire from the Jaipur gharana of Kathak. Kriti has chosen ancient and traditional compositions to trace the roots of today’s modern Kathak vocabulary. The presentation will consist of various taal aspects like thaat, uthaan, aamad, tihaiyaan, gat, kavitta, tode, paran and tatkaar.

Accompanied by: Sandeep Hattangady (tabla), Rohan Misra (sarangi), Shuchita Sakwaya (padhant)

Rachna Nivas | Traditional Solo

Rachna Nivas is a performing artist, choreographer, educator, community organizer, and activist of Indian classical art with a mission to uphold its authenticity while thoughtfully advancing its modernity. She is one of the most accomplished kathak dance practitioners of her generation, called by critics “revelatory” and “charismatic” who “radiates power and grace”. Her work is rooted in elevating feminine consciousness and Eastern philosophies challenging Eurocentric cultural paradigms. Having risen to principal dancer in legendary Pandit Chitresh Das’ acclaimed company for 17 years, today Rachna is Co-Artistic Director of LA-based Leela Dance Collective and directs Leela’s New York City training center.

Accompanied by: Jayanta Banerjee (sitar), Satyaprakash Mishra (tabla), Neeharika Tummala (padhant)

Pooja Ganesh | Gangavatarana

Gangavatarana is a piece developed from scratch by Pooja under the guidance of her gurus, beautifully penned lyrics by Shri Arjun Bharadwaj, music by Karnataka Kalashree Praveen D Rao. Inspired by the text from Subhashita-Ratna-Bhandagarah, translated to Kannada, which is a rarely explored language in Kathak, the story revolves around Shiva taming Ganga as she descends to the Earth and Parvati, jealous of seeing another woman on Shiva’s head, questions him. In the initial phase of the piece, Ganga descends to the Earth in her ferocious form with an intent to destroy, and Shiva captures her in his hair locks and  saves the Earth. This is depicted through a series of tukdas, parans, chakradars and footwork seamlessly weaved with the music. Shiva slowly releases her to the Earth where she flows seamlessly. Shiva stealthily with a smile, tries to console Parvati, trying to mask Ganga’s personality as he brings her home. Parvati, shocked at seeing another woman, asks him, “what is that on your head?”, “It is just water”, “What is that face that I see?”, “It is just a lotus,” says Shiva. By saying so, Shiva is trying to ward away her doubts alongside please Ganga by comparing Ganga’s face to a lotus. “What are those long tresses of hair?”, “They are just bees swarming around the lotus”, “What are those eyebrows and eyes I see?”,”They are just the waves and fish in the sea dear Parvati”. By doing so, Shiva is also pointing out that Ganga has eyes like the fish/meenakshi. For every question of hers, Shiva has a deceptive reply that convinces both Parvati and also flatters Ganga. 

Each of these question answer sets have been set in a different jathis such as thishra, chaturashra, khanda, mishra and sankeerna. Original music score Karnataka Kalashree Praveen D Rao, Tabla Sri Gurumurthy Vaidya, Vocals by Smt. Meghana Venkatesh, Bansuri by Shri Shadaj Godkhindi and sitar by Sri Subrahmanya Hegde.

Juan Du (Sachita) | Sab Ban Than Aayi Shyam Pyari Re

“Sab Ban Than Aayi Shyam Pyari Re”is a traditional thumri based on shringar rasa.The story is about the friends of Krishna are all dressed up and play with him. The item is originally written by Bindadin Maharaj. Music composed by Guru Padma Sharma, and it belongs to Amara Nritya Kala Hansa. The piece is choreographed by Dr. Amarjeet Kaur Bhatt, presented by Juan Du.

Tanveer Alam | Kashish

Set to a Taal Bandish, in Madhya and Drut Laya Teental, Kashish seamlessly weaves together poetry and technical dance, inviting the audience into a world where the dancer navigates the dynamic transitions of Kathak's technical compositions and the nuanced expressiveness inherent in the form.

The poetic lines of the bandish beautifully convey the experience of meeting someone's gaze for the first time, evoking sentiments of wonderment, desire, and bewilderment. With "Kashish," I aim to unite the essential elements of Kathak, nritta, and abhinaya, in a single, cohesive dance piece. This presents a thrilling performance experience for me, requiring a constant balance between two distinct physical and energetic states throughout the entire showcase.

Rooted in the rich tradition of Kathak, the Taal Bandish structure has been a part of the repertoire for generations. Drawing from my learnings and understanding of the form, I have choreographed Kashish from personal interpretation and aesthetic interests. I draw constant inspiration from the choreographic approaches and aesthetics within my Kathak lineage, specifically that of Kumudini Lakhia. I do so by exploring innovative movements and choreographic possibilities within the framework of classical kathak compositions.
The collaboration with Pittsburgh-based musician Kishan Patel, who co-composed, sang, and played all the instruments, adds another layer to this artistic endeavor. Kashish represents a true collaboration between two Indian classical artists of the diaspora, working passionately in our respective fields. This work has been created solely by second-generation North American artists. I believe it's crucial for New York City audiences to experience the creations of diasporic artists, embracing and evolving within the traditions of the form and contributing to contemporary expressions that are firmly anchored in the repertoire. This collaboration stands as a testament to the quality and commitment to Kathak and Indian classical music within the diaspora and can be inspiring for upcoming dancers and artists in the audience.

SISK Dance Ensemble | Shyaam Chhabi - Samagra Kathak

This performance is based on a poem by Kathak doyen and Krishna devotee - Pt. Bindadin Maharaj. Shyam Chhabi is set to Raga Mishra Khamaj and Taal Jhaptaal- a 10 beat Taal cycle. The concept and layout of this very unique and ‘avant garde’ piece is by Shambhavi ji’s Taal Shaastra (ताल शास्त्र)  Guru, Tabla maestro Taalyogi Pt. Suresh Talwalkar Ji. Through this piece, the quintessential elements of Kathak- Nritta and Abhinaya, are ingeniously amalgamated into a single performance. It seamlessly flows from describing lord Krishna’s appearance, stepping into intricate Laykari exploring Jhaptaal, displaying challenging Paran-s, and getting back to the poetry, asking for Krishna’s blessings as a devotee. The choreography is by Guru Shambhavi Dandekar. The brilliant music in this recording has been created by Guruji Pandit Suresh ji’s disciples from Taalyogi Ashram, Pune, India with special mention of Vinay Ramadasan on vocals, Asmita Thakur on Padhant, Ashay Kulkarni on Tabla and Padhant, and Ishan Paranjape on the Cajon drums. The dancers are: Ketki Chakradeo, Amla Patil, Vaibhavi Kulkarni and Shruti Naik.

Vidha Lal | Finale

Vidha Lal is an exponent of the Jaipur style of kathak, known for its rich rhythmic patterns, and dynamic, powerful movements.

Accompanied by: Mike Lukshis (tabla), Indrajit Roy-Chowdhury (sitar), and Biplab Mukherjee (vocals).

Meenal Chakradeo | Ganesh Dhrupad

Dhrupad, the most ancient style of Hindustani classical music, has transcended many generations in its original form. This Dhrupad composition in Raag Parameshwari pays homage to the creator of the raag, the late Pt. Ravi Shankar ji. Featuring  the composition in various speeds within the 12-beat cycle of Taal Chautaal, this piece is a masterpiece of musical tradition. It offers a comprehensive glimpse into all facets of Kathak—Abhinaya, Taal, and Layakari—within a single performance.

The music for this sublime and devotional piece has been composed by Shri Chinmay Kolhatkar and arranged by Shri Amod Kulkarni. It is sung by Shri Vinay Ramdaasan and choreographed by Meenal’s guru Shambhavi Dandekar.

Bhairavi Kumar & Troupe | Kavali

A unique Kathak presentation, where the exquisite technical artistry of the dance form merges with the spirit of a Sufi Kavali. The thought behind this work is to provide a mesmerizing viewing experience by fusing the soulful essence of Sufi music with the brilliance of Kathak, delving deeply into these profound traditions. This performance seamlessly intertwines the rhythmic complexities of Nritta (syllabic dancing), Natya (emotive storytelling), and technical nuances within a specially composed piece by Praveenji, ensuring a truly unique experience for the New York audience.

Pallavi Kathak | Tatva—The Essence

Pallavi Kathak is Pallavi Degwekar Shaikh and Salonee Shatagar.

The duo will present a performance of Taal Jhaptaal, a rhythmic cycle of 10 beats, showcasing the diverse flavors of Kathak repertoire. The special duet presentation highlights the unique bond, love, and respect between guru and shishya, embodying the essence of Parampara.

Accompanied by: Asif Khan (harmonium), Karamat Khan Kalavant (tabla), and Sanchita Dighe (padhant).

Vidushi Saswati Sen | Finale

Vidushi Saswati Sen is an exponent of the Lucknow style of kathak, known for its expressiveness, lyricism, and subtleties.

Accompanied by: Naren Budhakar (tabla), Indrajit Roy-Chowdhury (sitar), Sanjeev Ramabhadran (vocals), and Rohan Misra (sarangi).