On the evening of 17 January, the CC Mehta Auditorium in Vadodara witnessed a mesmerising confluence of Kathak traditions at ‘Vandanam’, a festival presented by Tatva Academy to honour the 85th birth year of the legendary Kathak Guru, Padma Shri Dr Puru Dadheech. The event was graced by former three-term Member of Parliament, Smt. Jayaben Thakkar, who expressed her heartfelt wishes for the revered guru to be awarded the Padma Vibhushan. The deeply emotional Pad Pujan ceremony, where students and teachers of Tatva Academy paid homage to Dr Dadheech, set the tone for an evening of devotion and artistic excellence.

A CELEBRATION OF DIVERSE KATHAK TRADITIONS

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The performances commenced with the students of Tatva Academy, who presented a Ganesh Vandana composed by the late Pt Sundarlal Gangani, a stalwart of the Jaipur Gharana.

Next, students from Natavari Kathak Nritya Academy, Indore, elevated the energy of the evening with their flawless execution of the rare Arjun Taal, a 24-beat cycle seldom performed on stage. Trained under Harshita Sharma Dadheech, young dancers Akshita Pauranik, Muskan Shrivastava, Tanishtha Vijayvargiya, and Sanvi Mandloi showcased the intricate Aprachalit Angas of Kathak with remarkable clarity, grace, and synchronised postures. Their command over complex layakari (rhythmic variations) in this uncommon taal cycle was a testament to their rigorous training. The precision and maturity displayed by these young dancers were truly commendable.

A DAZZLING SOLO BY DYUTI PANDYA

The evening concluded with a high-energy solo recital by Dyuti Pandya, a talented Kathak exponent of the Jaipur Gharana and a disciple of Shri Harish Sundarlal Gangani. She was accompanied by Chirayu Bhole on tabla, Nilesh Vohra on harmonium, and Vasu Paresh on pakhawaj, all of whom provided solid and melodious support to her performance.

Pandya’s recital opened with “Ek Brahm Aur Dhari Sundar”, a masterpiece by Pt Sundarlal Gangani, which creatively wove numbers 1 to 16 into episodes from Lord Ram and Sita’s life, including their birth, marriage and exile. This was followed by a traditional nritta repertoire in Teen Taal, featuring a Shiv Paran as an invocation, Thaat, Aamad, and a series of exquisite Parans, including Permalu Chakradhar and Bedam Tripalli Chakradhar. Her execution of Khand Jati footwork was precise, displaying both technical finesse and rhythmic mastery.

In Drut Laya, Pandya impressed the audience with her Permalu in Dugun laykari, Farmishi Chakradhar, and a Chakradhar Tukda incorporating Utplavan Anga. A standout moment of her performance was the Hiran Uchal Gat, dedicated to Ustad Zakir Hussain, which captured the playful yet rhythmic essence of the composition.

She also presented two Kavitt by Pt Sundarlal Gangani, depicting Gopikas complaining to Mata Yashoda about Krishna’s mischief and Mata Yashoda’s loving scolding to young Krishna. Pandya’s nuanced abhinaya brought these narratives to life, effectively conveying the rasa (emotions) and engaging the audience. She concluded with a traditional Ladi, bringing the recital to a rhythmic crescendo.

A PROMISING FUTURE FOR PANDYA

Dyuti Pandya’s performance was a fine blend of energy, grace and technical brilliance. Her deep dedication to Kathak was evident in her crisp footwork, expressive abhinaya and well-structured repertoire. Performing some of the unique compositions of the Jaipur Gharana’s Pt. Sundarlal Gangani, she paid a fitting tribute to her artistic lineage. With her talent and disciplined approach, Pandya’s future in the world of Kathak looks exceptionally promising.

The writer is a noted young dance scholar and impresario.