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 Bhadradeepam: Five Wicks, Five Elements, One Celebration - Bijoy Shivram e-mail: bijoyshivram@gmail.com Photos courtesy: JG College of Performing Arts May 9, 2025 In the serene sanctum of Indian tradition, the five-wick lamp - known as Niranjan or Bhadradeepam - glows with timeless spiritual resonance. Each flame, distinct yet inseparable, embodies an elemental force of the cosmos: Earth, Water, Fire, Air, and Ether. Together, they do not merely dispel darkness; they conjure a luminous wholeness - a sacred convergence of divinity, knowledge and unity. Symbolic of the Pancha Mahabhutas, the five senses or the five faces of Shiva, this radiant quintet speaks to a universe in balance, where the outer and inner worlds meet in quiet brilliance. In the final week of April 2025, this ancient metaphor reawakened at JG College of Performing Arts (JGPA), Ahmedabad. As part of its World Dance month celebrations, the institution kindled five singular events - each a wick of the lamp, each an invocation of elemental essence through movement and meaning. Rooted in tradition, guided by venerable gurus and brought to life by devoted dancers, each presentation became a flame of knowledge, artistry and spirit. Together, they formed a living Atmajyoti - a soul-lamp - offered in reverence to the universal pulse of dance. Wick One - Prithvi: The Foundation As the first flame of the lamp, Earth embodies the essence of grounding, strength, and stillness - the very foundation upon which all else is built. The celebrations at JG College of Performing Arts began with this elemental force, as the institution hosted a two-day immersive Kathak workshop, guided by the illustrious Pt. Rajendra Gangani. One of the foremost exponents of the Jaipur Gharana and a revered guru, Pt. Gangani's presence brought with it the weight of tradition and the brilliance of innovation. His bold choreographies, rhythmic mastery and unswerving devotion to the classical art form have earned him admiration across India and beyond.  Kathak workshop by Pt Rajendra Gangani Dancers from Gujarat, Pune and even the United States gathered in reverence, eager to immerse themselves in his unparalleled wisdom. Pt. Gangani's teaching style was a rare fusion of commanding authority and nurturing compassion, allowing students to experience Kathak not just as a technique, but as a living tradition - one that pulses with the very rhythm of life itself. Rooted in the sacred principles of the Jaipur Gharana, his approach was one of clarity and precision. With deep focus, students were immersed in the intricate language of tatkar, the rhythmic patterns and the swirling grace of chakkars - each step, each turn, a meditation on discipline and devotion. Guru Gangani's ability to distil complex compositions into digestible fragments encouraged his students to transcend their limitations, urging them to reach beyond technique and connect with the very soul of Kathak. The workshop was a harmonious blend of tradition and innovation, where the rhythms on the floor echoed with a singular message: before art can flourish, one must first be rooted in the earth, in the art of surrender and in the timeless spirit of Kathak. Wick Two - Apah: The Flow Water, in its essence, is fluid, emotive and endlessly flowing - qualities that mirrored the serene grace with which P.T. Narendran, a senior disciple of Guru Adyar K. Lakshman and former faculty at Kalakshetra, Chennai, led a transformative three-day Bharatanatyam workshop. Known for his refined aesthetic, Narendran's mastery of crisp technique, subtle abhinaya and gentle yet profound teaching style created an atmosphere where dance became a seamless extension of the soul's natural rhythm.  Bharatanatyam workshop by PT Narendran During this immersive experience, students delved into two evocative pieces: the Nandi Kautvam in adi talam - a majestic invocation to Lord Shiva - and the Poorvi Tillana in Tishra Jati triputa talam, a jubilant celebration of rhythm and melody. Under Narendran's expert guidance, each step felt like an effortless immersion into the depths of Bharatanatyam's spiritual and artistic flow. His classes, a rare synthesis of discipline and dynamism, balanced the rigor of tradition with a light-hearted, engaging energy that made learning feel both grounded and liberating. A perfectionist by nature, his attention to detail brought precision to every gesture, yet his approach never felt daunting. Instead, he illuminated the most intricate nuances of Bharatanatyam with vivid metaphors and relatable similes, making the profound depths of the form accessible and meaningful. In his hands, the workshop transcended mere instruction; it became an act of devotion. The flow of his love for Bharatanatyam connected every student to the sacred stream of tradition. Each adavu, each mudra, was not just a movement, but a drop in a river of knowledge and devotion, fostering an unbroken bond between teacher and student, inviting all into the eternal flowing embrace of dance. Wick Three - Agni: The Spark The third flame ignited with fervour, focus and unyielding challenge - qualities intrinsic to fire itself. At JG College of Performing Arts, the state-level classical dance competition in Kathak and Bharatanatyam became a vibrant display of passion and artistry, open to dancers across three age categories. Over 50 talented participants from Surat, Rajkot, Ahmedabad, Vadodara and Bhavnagar took to the stage, each presenting their craft before a distinguished panel of judges hailing from Delhi, Pune, Mumbai and Ujjain, ensuring an impartial and expert evaluation.  Dance competition The air was thick with intensity as the stage came alive with fierce footwork, expressive abhinaya and precision in technique. The competition was not only a measure of skill but also a forge in which dancers was transformed by the fire of their own dedication. The stage became a battleground where artistry was tested and honed, where the smallest movement held the weight of ambition and resolve. The winners emerged as blazing stars, adorned with gold, silver and bronze medals, their triumphs shining like the very fire that fuelled their journey. Yet, every participant, regardless of the outcome, was honoured with certificates and mementos - symbols of the flames they stoked within themselves. This was not merely a competition, but a celebration of the indomitable spirit of dance, an eternal spark that continues to burn bright in the hearts of all who dare to perform. Wick Four - Vayu: The Breath | WDC Day One Air, the essence of movement, breath and boundless expansion, silently pervades all things - unseen yet ever-present. The Vayu wick of the World Dance Celebrations at JG College of Performing Arts embodied this ethereal force, as dancers from across India converged for two electrifying evenings of classical, contemporary and cross-genre performances. Day One began with the third-year Bharatanatyam students of JG College, whose disciplined artistry set the tone for the festivities. With grace and spiritual depth, these emerging dancers unveiled their years of dedication through a series of powerful pieces. Opening with the dynamic Dasavatar Alarippu in Chatushra talam, a bold choreography by Acharya Renjith Babu and Vijna Vasudevan, they transitioned into the Kshadakshara Kautvam in Ragam Shanmughapriya and talam Rupakam, set by PM Kumar and Madurai R. Muralidharan. A delicate Keertanam in ragam Behag followed, aesthetically choreographed by Shivangee Vikram, before concluding with a Tillana in ragam Ahir Bhairav and adi talam, brought to life by the compositions of Dr. Balamurali Krishna and choreography by Renjith Babu and Vijna Vasudevan.  Labdhi Doshi, Shail Chudgar and Hirva Rajyaguru The dancers - Shail Chudgar, Labdhi Doshi and Hirva Rajyaguru - were a testament to the fruits of hard work and unwavering practice. Their enthusiasm, energy and impeccable presentation uplifted the festival's spirit from the very start. Accompanied by the rich vocals of Varsha Anantaraman, the rhythmic mastery of PM Kumar and Shivangee Vikram on nattuvangam and the resonant beat of Manav Nair on the mridangam, they created a performance that left the audience in awe. Deepak Vaghela, a principal dancer with the Imperial Fernando Ballet Company (IFBC) and a two-time winner of the Great Indian Ballet Competition, soon graced the stage. Known for his performances in ballets like Swan Lake and Sleeping Beauty, Deepak's performance was raw, visceral and deeply engaging - pushing the boundaries of presence and perception and immersing the audience in an emotive world that transcended classical technique.  Deepak Vaghela  Raina Parikh Next, Raina Parikh, a senior disciple of Ishira Parikh and Maulik Shah from the Anart Foundation, took to the stage. Raina's Kathak marked by lyrical grace and a quiet, powerful confidence. She began with Nritya Paksh in Taal Dhamaar, a 14-matra rhythm known for its masculine energy and moved through Thaat, Aamad, Uthaan, Chakradhar Paran and Tihai in Tishra Jati. Her interpretation of Bhakta Kavi Premanand's Pada - Peet patware ne marod dali baiyan - resonated with emotional depth and intricate footwork. A stellar ensemble elevated her performance: Kadam Parikh's vocal padhant, the melodic richness of Jaimin Vaidya's harmonium, the tonal beauty of Hriday Desai's sarod and the rhythmic precision of Sapan Anjaria on tabla. Together, they created a tapestry of sound that allowed Raina's dance to flow with a seamless, emotive energy.  Anuj Mishra and Neha Singh The evening culminated in a scintillating duet by Lucknow based Anuj Arjun Mishra and Neha Singh Mishra. Anuj, a vibrant exponent of the Lucknow Gharana, and Neha, with her mastery over layakari and evocative abhinaya, created magic on stage with their flawless synergy. They began with a shloka on Shiva, exploring the male and female aspects of the divine, before seamlessly transitioning into a traditional That, Teen Taal, Vilambit Madhya Lay, Uthaan and Bandish - all hallmarks of the Lucknow tradition. Despite being away from the stage for three years due to Neha's illness, the duo's performance was nothing short of mesmerizing, their resilience a testament to their dedication. The audience, moved by their journey, showered them with heartfelt applause. Wick Five - Akasha: The Space | The Final Flame, Day Two Akasha is the formless, infinite space where all experiences unfold - the unseen breath that connects the tangible and intangible. The sacred container cradles the dance, the silence, the unspoken emotions and the collective reverence shared by all. On Day Two of the World Dance Celebrations, Akasha became the space in which the final flame of the festival flickered, evoking the timeless, boundless essence of art. The day began with an awe-inspiring performance by Anushka Chowdhury, a Bharatanatyam dancer from the Faculty of Performing Arts, MS University, Vadodara, who lives with cerebral palsy. Anushka's performance was a powerful testament to the resilience of the human spirit. With grace and unwavering devotion, she transcended the boundaries of body and soul. She opened with the Vinayaka Kautvam in ragam Chakravakam and adi talam, followed by a Javali in ragam Khamas and adi talam, both compositions by Rukmini Devi Arundale. Her dance, infused with determination and beauty, resonated deeply with the audience, moved by her unwavering commitment to her art.  Anushka Chowdhury  Nandini Jani Next, Nandini Jani, a dedicated Kathak dancer from JG College of Performing Arts, took to the stage. Nandini's performance marked by an intricate fusion of technical mastery and emotional depth. She began with an abhinaya piece, "Rangeela Shambhu," a devotional invocation of Lord Shiva and Parvati. The piece encapsulated joy and devotion, inviting divine presence into the space. The subsequent performance in Jayat Taal (13 beats), composed by Pandit Rajendra Gangani and learned under the guidance of Rohit Parihar, highlighted Nandini's deep understanding of Kathak's rhythmic intricacies. Her performance, with its fast-paced Tukda and Paran in Teentaal, was a celebration of rhythm, movement and expression. Supported by a stellar ensemble - Rohit Parihar on pakhawaj, Joby Joy on tabla and Dipesh Suthar on vocals and harmonium - Nandini's dance unfurled with an effortless elegance, a perfect marriage of rhythm and grace. Deepak Vaghela, once again graced the stage. Deepak's contemporary ballet performance was a breath-taking display of athleticism, precision and emotional storytelling. Each movement, fluid yet powerful, captured the essence of his training in Western ballet. In his brief but poignant piece, Deepak's clean lines, impeccable balance and expressive quality left the audience entranced, embodying the seamless fusion of strength and grace.  Masters level Bharatanatyam students The next act featured the Masters level Bharatanatyam students of JG College: Kalyani Pandya, Riddhi Joshi, Kushi Joshi, Kaajal Solanki, Hency Bapat, and Tvisha Pancholi. Together, they presented a heartfelt performance that was both composed and deeply moving. The dancers began with a Pushpanjali in ragam Saraswati and adi talam, followed by a Mayura Alarippu - a piece they choreographed themselves, showcasing their understanding of Bharatanatyam's pure form. The performance then moved to the Mahalakshmi Keertanam, choreographed by Dr. Uma Anantani and concluded with a graceful Tillana in ragam Bhoopalam and adi talam, composed by Dr. Balamurali Krishna. Their execution of both nritta and nritya reflected their growing artistry and deep commitment to their craft. The expert nattuvangam of PM Kumar and Shivangee Vikram, whose rhythmic precision guided the dancers through each intricate movement, accompanied the dancers. The ensemble - Varsha Anantaraman on vocals and Manav Nair on mridangam - provided a dynamic musical backdrop, enhancing the beauty and depth of their presentation. The evening's penultimate performance was by Mitali Dhruva, a senior dancer from Kadamb, the renowned institution founded by Guru Kumudini Lakhia. Mitali's dance echoed the sophisticated sensibility of Kadamb - graceful, geometric and steeped in modern aesthetics while remaining rooted in classical Kathak. Mitali's performance began with a Maand followed by Teen Taal, with sections in Vilambit Madhya and Madhya Laya. The piece, created by Kumudini Lakhia in 2023, imbued with her meticulous attention to detail, right down to Mitali's costume, chosen by Kumiben just days before her passing. Mitali's interpretation of the dance was a tribute to her guru's legacy. A remarkable ensemble supported the performance: Praher Vora on vocals and harmonium, Rupanshi Kashyap on padhant, Joby Joy on tabla, and Partha Sarkar on flute. The musicians' delicate interplay of melody and rhythm allowed Mitali's dance to transcend the physical, reaching deep into the realm of the spiritual.  Mitali Dhruva  Poorva Saraswat The evening culminated in a sublime performance by Poorva Saraswat, a disciple of Vaibhav Arekar, one of India's foremost Bharatanatyam dancers. Poorva began with "Shri Vighna Rajam Bhaje," a Kriti on Lord Ganesha, set in ragam Gambhiranatai and Khanda Chapu. Her performance reached its pinnacle with the Abhanga "Dhanyate samsaari pavitra te vaani, Akhanda uccharane Raam nama," an epic piece drawn from the Ramayana. Choreographed by Vaibhav Arekar, this composition followed the format of a Varnam, with the Jatis interspersed with the sahityam. Poorva's portrayal of the three episodes from the Ramayana was both meditative and dynamic, with each moment reflecting the depth of her artistic lineage. Her abhinaya was captivating, each gesture, each expression, a testament to her deep connection with the tradition. The music, composed by Ambika Vishwanath and sung by Radha Raman Kirtane, perfectly complemented the grace and power of Poorva's dance. The performance was a fitting, poignant finale to a two-day celebration of movement and spirit. However, some in the audience left after witnessing their institution's performances; the true rasikas - those who stayed - understood the profound bond between dancer and audience. In the stillness that followed Poorva's performance, the festival's resonance lingered, its echo a reminder of the transformative power of art. A poignant moment unfolded at the beginning of both the evenings, with a short film curated by Vice Principal Bijoy Shivram, which honoured the late Guru Kumudini Lakhia. The film was more than a tribute; it was a sacred pause, a moment of reflection and gratitude. A two-minute silence followed, in remembrance of Kumudini Lakhia, the guiding light of the institution since its founding and for the lives lost in Pehalgam - a humble offering to the departed and a collective breath of remembrance. It was a great honour to have Maitreyi Lakhia, Kumudini Lakhia's daughter in the audience on the second day. Conclusion: Five Wicks, One Flame In the glow of the five-wick lamp, each flame burns with purpose, each element is sacred and together they form a singular, radiant truth. The celebration at JG College of Performing Arts in April 2025 transcended mere events; it was a profound ritual, a living tapestry woven from devotion, expression and reverence. A luminous journey illuminated a timeless wisdom. Through a series of workshops, competitions, performances and tributes, JG College of Performing Arts reignited the ancient truth that dance is more than movement - it is an offering, a prayer. A celebration of the elements that exist within and around us, it reaffirmed the profound connection between body, mind and spirit: Where the hand moves, the eyes follow; where the eyes go, the mind follows... In addition, in that sacred alignment - where the hand, the eyes and the mind unite - there emerges Dance: radiant as a five-wick flame, eternal as the elements themselves, forever illuminating the space between the seen and the unseen.  Son of journalists K Shivram and Amni Shivram, the first Malayali woman English journalist, Bijoy Shivram is an accomplished Indian classical dancer trained in Bharatanatyam and Kuchipudi. A passionate promoter of the arts and a skilled graphic designer, he currently serves as the Vice Principal of JG College of Performing Arts and the Assistant Director (Operations) overseeing 17 JG colleges. He is also the founder of Preksha, an organization dedicated to the promotion of art and culture in Ahmedabad. Since 2020, Bijoy has curated the YouTube series 'Gurudakshina - An Ode to our Gurus,' celebrating the legacy of mentorship and tradition. |
