Taal Rang - Art in Rhythm: A tribute to Zakir Hussain through dance

- Akash Mallick
e-mail: akashmallick699@gmail.com
Photos Courtesy: Suryana Aiyar

July 25, 2025

Why choose Kathak over a tabla solo to honour a tabla legend?
This thought-provoking question framed the heart of Taal Rang - Art in Rhythm, the eighth performance in the Reflect Series by Bhagyam Arts and Ideas. Held at Jawahar Bhavan, New Delhi, the evening unfolded with artistic depth and innovation. As observed by Suryana Aiyar, the founder of Bhagyam Arts and Ideas, this evening was her rare moment as an audience member, not as a curator, and with that came fresh anticipation for what unfolded on stage at Jawahar Bhavan.

Suryana Aiyar

Held in memory of the iconic Ustad Zakir Hussain, who passed away earlier this year, Taal Rang was not just a dance recital - it was a philosophical and aesthetic meditation on rhythm itself.

Bhagyam Arts and Ideas, envisioned as a collective space for traditional artists, also champions a key mission - restoring live musical accompaniment to classical dance. Aiyar's appeal to form a musician pooling system was especially pertinent. In an era where financial constraints often force performers to rely on recorded tracks, Bhagyam dares to bring the living pulse of music back on stage. As Aiyar explained, Zakir Hussain was more than a tabla virtuoso; he redefined the role of the tabla from accompanist to co-equal protagonist. Thus, a Kathak recital offered the perfect frame to reflect the essence of his contribution: rhythm as narrative, rhythm as soul. Dancers Bhargavi Sudarshan and Mayukh Bhattacharya rose to this vision with remarkable poise and clarity. Their choreography was crisp, yet expressive, allowing the nritta to shine without losing the emotive grace of the form.

Zakir Hussain - tabla, Ruchi Saini - padhant, Lavanya Kumar - sitar, Sanjeev Shukla - vocal, Anil Kumar Mishra- sarangi

The evening of Taal Rang opened with a soulful invocation - Guru Vandana - performed by Bhargavi Sudarshan and Mayukh Bhattacharya, set in raag Yaman and rupak taal. This opening act, composed by Sanjeev Shukla, established the spiritual tone, aligning with the Natyashastra's vision of dance as naatyadharmi - a sacred offering that integrates devotion, aesthetics, and performance.

The Peshkar on tabla served as a resonant homage to the late Ustad Zakir Hussain, foregrounding rhythm as the life force of Indian classical arts. The dancers' subsequent uthans transitioned the recital into its technical core, highlighting the principle of tala - a key pillar in Bharata's dramaturgy.

Bhargavi Sudarshan

Bhargavi's solo in Taal Dhamaar showcased not only her control over rhythm but also her deep bodily awareness. Her thaath, tez aamad, paran, and raila revealed a seamless coordination between motion and intention - a quality described in the Natyashastra as angika abhinaya. Her interpretation of the thumri "Nadiya bairi bhaiyi" merged satvik and vachik abhinaya with subtle gat nikas, embodying sringara rasa with grace and psychological depth. Mayukh Bhattacharya followed with "Paran-o-ki-Mala", a composition of seven intense bols woven as a garland in tribute to Zakir Hussain, showcasing explosive footwork, breath control, and precise body geometry.

Mayukh Bhattacharya

The evening culminated in a duet Chaturang, blending sargam, tarana, bandish, and tirwat - reflecting the Natyashastra's ideal of samanya dharmi (unity of forms). Set in raag Malhar, the dancers beautifully evoked the monsoon, merging motion, mood, and meaning into one unified aesthetic experience.

Akash Mallick is a Marga Natya practitioner, arts pedagogue, and IB Dance educator rooted in classical Indian performance traditions. A graduate with a master's in performance studies from the University of Hyderabad, his artistic journey weaves together scholarship and stage, guided by the Natyashastra and committed to reimagining traditional forms for contemporary audiences.