Bhargavi Sardesai | Shiva Vandana - Dhrupad

This work draws inspiration from the Shiva Tandava Stotram and the cosmic presence of Nataraja, the lord of dance. Shiva embodies both creation and destruction, stillness and movement, compassion and intensity. He is the formless, eternal principle behind the rhythm of the universe. He is omnipresent…omniscient…

Through kathak movement and expressive storytelling, the piece explores Shiva as a symbol of cosmic balance and spiritual power. As Nataraja, he dances upon ignorance, surrounded by fire, representing the cycles of life, transformation, and transcendence.

This work is curated and choreographed by Pandita Shama Bhate, is a tribute to the legendary Gundecha Brothers, who have composed the original dhrupad, and is a celebration of the spirit of the supreme being... Mahadev!

Sukriti Sharma | Antar

Antar is a solo kathak work that explores teental not merely as a rhythmic cycle but as a journey through evolving states of time and awareness.

Rooted in the traditional kathak sequence, the work begins in vilambit laya, where stillness, breath, and restraint allow rhythm to unfold gradually. As the tempo shifts toward drut, the choreography reveals increasing momentum, precision, and vitality, reflecting the dynamic relationship between structure and freedom.

The inspiration for this work emerges from the idea that laya mirrors lived experience—how time stretches, accelerates, and transforms us. Through nuanced footwork, controlled transitions, and rhythmic clarity, the solo invites the audience to experience teental as an internal landscape rather than a fixed form.

This work honors kathak’s classical integrity while offering a contemplative, embodied approach to rhythm—where tradition becomes a space for presence, reflection, and transformation.

Smita Alves & Bhakti Bhav Dance | Las Palmas

This piece celebrates the dynamic between a teacher and her students, highlighting the strengths of flamenco but in pure kathak dance form. Las Palmas is a classically rooted song off the album 'This Moment' by Shakti. With the artistry of the musicians, both in Indian and Spanish classical, the sound of this piece immediately reminds us of the interwoven history between kathak and flamenco. Incorporating palmas (taali), layakari in compas, vueltas (chakkars), zapateado (tatkaar), and vocalizations (padhant) common to both styles, it has the high energy and playfulness flamenco and kathak both exhibit to pull the audience into a dialogue of rhythms. 

Anita & Sreeja | Dhamaar

Through our presentation of Dhamaar, we seek to explore veer rasa through a range of compositions set in this 14 beat time cycle that holds an innately strong character and essence. 

Veer rasa (courage and resilience), manifests across many facets of life, and through these compositions we journey through those varied expressions of strength and a resolute spirit. 

Some manifestation are rooted in cultural and historical traditions, such as the classic shikaar tihai (hunting), while others are more nuanced, reflecting contemporary sensibilities, abstract movement, and a complete embodiment of strength exuded in the energy of both dancing bodies in space and the way they interconnect with each other.

Resilience and courage are found in small and large ways in day-to-day life, and are reflected in the core spirit of this piece.  

Choreography and music curation by Shri Sandip Mallick ji.

Shivani Joshi | Chaturang

In the late-afternoon glow of Raga Bhimpalasi, Pandit Rajendra Kumar Gangani’s choreography unfolds like a sacred tapestry of "four colors." The piece awakens with the sahitya (poetry), an elegant invocation where fluid gestures honor the guni jan (learned people) and echo the primordial vibrations of the conch and Lord Shiva’s damaru. This narrative grace dissolves into the sargam (solfege), a melodic dialogue where intricate footwork mirrors the solfege syllables, before escalating into the ethereal trance of the tarana (syllables) and trivat (rhythmic syllables), characterized by sweeping chakkars and rhythmic fluidity. The composition reaches a visceral climax in the syllables, where the grounded power of the Jaipur gharana meets the majestic twelve-beat pulse of chautaal; here, rhythmic strikes resonate with the thunderous depth of the mridang (pakhawaj), weaving poetry, melody, and rhythm into a single, luminous moment of stillness upon the final sam.

Prashant Shah & Dancers | Let It Be

Let It Be is a collection of choreographies presented in both traditional and contemporary kathak forms. This body of work is Prashant’s effort to bring a timeless flow of change in traditional kathak technique—while balancing power and grace.

With me, for me
For Prashant, “With me, for me” is not simply a choreography or dance piece—it portrays the ongoing journey of artists.
The dance movements and rhythmic patterns go beyond their technical aspects and are presented with a sensitive, soulful, and emotional approach—allowing the audience to experience the artistic journey themselves.
In this duet work, Riti is the artist, and her journey and connection to different artforms is explored, while dance is personified by Prashant. The collaboration between Prashant and Riti in creating this work feels magical—portraying their emotional chemistry while feeling the poetry, music, and dance of this work.
Performed by: Prashant Shah, Riti Tandra
Concept, artistic direction, and choreography: Prashant Shah
Music arrangement: Prashant Shah
Poetry and voiceover: Riti Tandra

Piya Bawri
Piya Bawri is considered to be one of the most avant garde songs from the legendary vocalist Pandit Ajay Pohankarji on his son, Shri Abhijeet Pohankarji’s album.
Here, the choreographer uses a contemporary approach in showcasing abhinaya, specifically shiringara rasa. The movements are created to enhance the mood of the song, while keeping the meaning intact.
Performed by: Aashna Shah, Ruchi Tandon, Shipra Agrawal, Priyanka Kamra, Meera Allegra, Ashwini Singh, Keyuri Mehta, Piya Mehta

Tarana in Raag Gurjari
Tarana is an integral part of the kathak repertoire, and a striking example of how Persian art and culture influenced music and dance in India during the Mughal period. In this composition, words and syllables from Persian and Arabic phonemes serve as the basis of medium or fast-paced movements, and are sung in the Hindustani classical style. This tarana is based on raag Gurjari set in teentaal composed by sitarist Shri Chandrachur Bhattacharjee and sung by renowned singer, late Shri Debasish Sarkarji.
Performed by: Aashna Shah, Ruchi Tandon, Shipra Agrawal, Priyanka Kamra, Meera Allegra, Ashwini Singh, Keyuri Mehta, Piya Mehta, Janani Bhagat, Suhani Prasad, Lekha Wood, Saara Wood

Live solo
Prashant presents a traditional kathak solo performance, accompanied by Satyaprakash Mishra (tabla), Indro Roy-Chowdhury (sitar), and Rohan Misra (sarangi).

Finale
Prashant concludes the evening with a message to his young disciples that he truly believes in.
Performed by: Prashant Shah, Saara Wood, Navya Prasad

Costumes by: Anuvi Desai