HT City Delhi Junction: Catch It Live on 6 May 2025
What: Delhi Nritya & Sangeet Mahotsav | Sanjeet Gangani & Troupe (Kathak)
Where: Triveni Kala Sangam, 205, Tansen Marg, Mandi House
When: May 6
Timing: 6pm
Entry: Free
Nearest Metro Station: Mandi House (Blue & Violet Lines)
What: Roop Aroop
Where: Dhoomimal Gallery, G-42, Connaught Circus, Connaught Place
When: April 26 to May 23
Timing: 11am to 7pm
Entry: Free
Nearest Metro Station: Rajiv Chowk (Blue & Yellow Lines)
What: Lusophone Film Fest | Súlu S'Áua
Where: CD Deshmukh Auditorium, India International Centre, 40 Max Mueller Marg, Lodhi Road
When: May 6
Timing: 5pm
Entry: Free
Nearest Metro Station: Jor Bagh (Yellow Line)
What: Jo Bolta Hai Wohi Hota Hai ft Harsh Gujral
Where: The Laugh Store, CyberHub, Sector 24, Gurugram
When: May 6
Timing: 7pm
Entry: www.bookmyshow.com
Nearest Metro Station: Cyber City (Rapid Metro)
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Hindustan Times
4 days ago
- Hindustan Times
How Kathak is shaping Indian cinema
There is something eternal about Kathak, from the swirl of a lehenga to the accuracy of footwork and the subtlety of expression. Having danced since the age of three, I find myself fascinated by the power of this art form every single day. It fills me with deep pride, and sometimes concern, as Kathak strengthens its presence in Indian cinema. For decades, it has not only enriched the visual palette of films but also added layers of narrative depth and cultural resonance. Kathak's entrance into cinema was as effortless as a river finding its course. Early Hindi directors, inspired by mythological, devotional, and historical narratives, instinctively harnessed its emotive power. The 1932 film Indra Sabha, adapted from the 1853 Urdu musical dance-drama commissioned by Nawab Wajid Ali Shah, brought Kathak's rhythmic storytelling vividly to the screen. Since then, Indian cinema has never been the same. Yet neither cinema nor Kathak has remained static. Over decades, costuming and context have at times obscured Kathak's authenticity. As my guru Shovana Narayan once observed, Gopi Krishna's choreography in Amrapali (1966) was beautiful, but the costumes created for the characters veered away from historical accuracy. In contrast, Roshan Kumari's Chaturang sequence in Jalsaghar (1958) remains a benchmark with a pure embodiment of traditional Kathak complete with tora, tukra, paran, and gat bhava. Similarly, Gopi Krishna and Choubey Maharaj's Benaras gharana performances in Jhanak Jhanak Payal Baaje (1956) dazzled with technical brilliance and expressive power. In later decades, Indian cinema embraced global influences like disco, belly dance, pop, giving us item songs powerful enough to make films blockbusters. Mujra sequences have also resurfaced, notably in Netflix's recent web series Heeramandi. Although the OTT series featured talented performers, it missed a Kathak dancer's rigorous riyaaz, storytelling, and poetic depth. Still, I believe cinema can return to Kathak's roots and capture its boundless magic. The legendary Pandit Birju Maharaj, showed this beautifully through his unforgettable choreography in Devdas (2002), revealing how classical dance can enrich cinema. In my own career, I have choreographed thematic works from feminist reinterpretations like Devaki to ecological homages to the Yamuna, demonstrating Kathak's enduring relevance as a contemporary storytelling medium. This enduring relevance owes much to Kathak's very nature as a dialogue with tradition, woven through story, poetry, music, and emotion. In every project, whether on stage, screen, or commercial, I strive to preserve its soul and integrity. When honoured, the classical dance offers cinema more than beauty; it provides substance. Through its expressive vocabulary, Kathak can summon the divine, confront human dilemmas, and shed light on contemporary issues. It gives dignity to period dramas, lends grace to romances, and infuses energy into modern narratives. As audiences shift from cinema halls to streaming screens, we stand at a crossroads where tradition, technology, and storytelling meet. This is our moment to celebrate Kathak's enduring dialogue with cinema, and to protect its authenticity while daring to explore new creative frontiers. When we honour its discipline and open it to evolving narratives, this art form transforms into a living, breathing force that shapes the future. From temple floors to film sets, Kathak's rhythms echo across time, calling each generation to witness, feel, and be moved by its ageless spirit. This article is authored by Shivani Varma, Delhi-based Kathak artist and founder of The World Kathak Day movement.
The Hindu
6 days ago
- The Hindu
Dancer-couple Nirupama and Rajendra revisit the Ramayana in ‘Rama Katha Vismaya'
The Ramayana, an ancient epic, has been retold through various art forms over the centuries, especially through classical dance styles such as Bharatanatyam, Kathak, and Odissi. In recent times, many dancers have continued this tradition by presenting Rama's story to life on stage in fresh and engaging ways. One such production was 'Rama Katha Vismaya', a full-length performance, curated and presented by dancer-couple Nirupama and Rajendra. Staged at Chowdiah Hall in Bengaluru, the production featured nearly 60 artistes from the Abhinava Dance Company. The duo framed the epic as a tale being narrated to Krishna by Yashoda as a bedtime story. When she reaches the sequence where Ravana abducts Sita, little Krishna suddenly leaps out of his bed and shouts, 'Saumitri, bring my bow and arrow', leaving Yashoda both startled and confused . According to Nirupama and Rajendra, this moment, drawn from Leela Sukar's Krishna Karnamritam, where Krishna recalls his past life as Rama, inspired them to come up with this thematic production. Colourful costumes (by Rajendra), vibrant lighting design (by Ajay Vijendra), choreography that incorporates diverse styles, musical score ranging from classical to folk, and grand sets and LED projections added to the appeal. The presentation began with a group of girls wielding peacock feather fans and a group of boys holding bows and arrows, highlighting the common link between Rama and Krishna. Their dynamic formations and movements for this segment, leading to the introduction of Rama, were skillfully choreographed. A brief depiction of Rama's previous avatars by Rajendra was interesting. And Nirupama explored her dramatic skills with conviction in her role as Soorpanakha. At one corner of the stage, Yashoda continued her narration to Krishna — the rakshasas, disturbing the rituals, being vanquished by Rama and Lakshmana, the breaking of Shiva Danush by Rama followed by Sita swayamvaram, the entry of Rama, Lakshmana and Sita into Dandakaranya forest, appearances of Soorpanaka, Maricha (the golden deer), and finally the abduction of Sita. There were some interesting segments too. For instance, in the Sita abduction scene, the depiction of Ravana's duality was done convincingly. Ravana is usually portrayed as arriving disguised as a sage seeking alms, only to disappear and reemerge in his majestic, royal form. But, here, the variation was creatively presented as two dancers appeared on stage and moved in perfect unison to convey the idea that the two personas were, in fact, one and not separate. , The introduction of Ravana was yet another riveting visualisation. In utter darkness, glowing masks (used to indicate the ten faces of Ravana) began to swirl across the stage, before gradually settling into a formation behind the dancer — the embodiment of Ravana, the ten-headed king. Even the scene about Rama's exile was dealt with differently. Instead of the usual depiction of the sadness that engulfs the people of Ayodhya when Rama leaves for his exile, the dancers showcase the happiness and reverance with which Dandakaranya forest welcomes them when they enter it. However, the presence of a group of dancers, dressed as flowers, trees, birds and animals, who were constantly moving on stage was disturbing and looked a bit amateurish. The production aimed to include elements that would attract a wide audience, but the core of Rama's character and the narrative were lost amid a flurry of activity on stage. A moment of repose could have significantly elevated its impact. Credits: Lyrics are by Ashtavadhani R. Ganesh. Music is by Praveen D Rao. He had combined varied sounds, and swara patterns in such a way that they match the pace of the choreography. But one wished for some moments of tranquility to offset the high energy levels, for greater impact. Direction and visuals are by Vinod Gowda, and . artistic direction and choreography by Nirupama and Rajendra.
Hindustan Times
02-06-2025
- Hindustan Times
HT City Delhi Junction: Catch It Live on 2 June 2025
What: Yiwarra Kuju – The Canning Stock Route Where: Open-Air Art Gallery, Triveni Kala Sangam, 205 Tansen Marg, Mandi House A post shared by Australia in India (@aushcindia) When: May 27 to June 8 Timing: 11am to 7pm Entry: Free Nearest Metro Station: Mandi House (Blue & Violet Lines) What: Public Health, Social and Gender Justice with Empathy Where: Lecture Room I, India International Centre Annexe, Lodi Estate When: June 2 Timing: 3.30pm Entry: Free Nearest Metro Station: Jor Bagh (Yellow Line) What: Koshish 2025 – Tribute to Guru Pt Praveen Gangani | Kathak recital ft Mukesh Praveen Gangani, Chetan Javda & Bhavdeep Javda A post shared by Mukeash Praveen Gangani (@mukeashpraveengangani) Where: The Stein Auditorium, India Habitat Centre, Lodhi Road When: June 2 Timing: 7pm Entry: Free Nearest Metro Station: JLN Stadium (Violet Line) What: One Night StandUp Where: Laughter Nation Comedy Club, 9A, Hauz Khas Village When: June 2 Timing: 8pm Entry: Nearest Metro Station: Green Park (Yellow Line)
