‘Saransh’ means ‘the essence’… This is an effort to try and relate the Kathak aesthetic to the dynamics of different music streams… Kathak idiom and form is very flexible and adaptable…
This is an effort to establish a contemporary context to the stories – ‘Kaliya Daman’, ‘MakhanChori’, ‘Govardhan Leela’, ‘Kansa Vadha’ and ‘Gopi Vastraharan’ – which otherwise are portrayed in a linear manner…
Shama Bhate seeks to aesthetically meld the different forms of Indian classical dance -Kathakali, Odissi, Mohini Attam, Kuchipudi, Kathak, Bharat Natyam, Chhau with their different stylizations, costumes and even music
An insightful seer, a sentimental poet, an ultimate devotee or an eloquent artist…who exactly was Meera?
Meera was a committed devotee of Lord Krishna.
A unique blend of classicism and grandeur, showcasing a wide spectrum of sixty dancers in a grand spectacle, is Kathak Infinite.
Kathak presented with a large number of dancers without losing the character
The depiction of an important historical figure from recent history, Ba Kasturba Gandhi, raises several questions for classical dancers… questions that do not appear significant when these same dancers enter the imagined world of
The Story of increasing oppression of Indian womanhood through ages A depiction of the sharp contrast between the progress of mankind and corresponding pitfall of the plight of the Indian woman, encompassing all times and all socio-economic strata…!
When I watched, experienced, this Documentary ‘Le Monde Du Silence’ by Cousteau and Louis Malle’ for the first time, I was silenced… silenced to my core…
I was familiar with S. H. Raza’s work for quite a while, but for the three months preceding the first performance of this piece Naad-Bindu, I quite literally lived, breathed, and danced these paintings.
KRISHNA – THE LIBERATOR :JAI JAGAT 2020 Venue: Vishwa Yuvak Kendra, Delhi. Date & Time: 3th October, 2019 View Gallery