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 World Kathak Day: A prayer in motion- Srishti Kashyape-mail: kashyapsrishti@gmail.com Photos: Ritesh Mahar February 21, 2026 The fourth edition of World Kathak Day, conceptualised and curated by Kathak exponent Shivani Verma - a senior disciple of Pt. Birju Maharaj and Guru Shovana Narayan - unfolded like a quiet trance: part remembrance, part celebration, and wholly an act of devotion to Kathak and its extension into the unknown. Graced by the presence of Union Cabinet Minister for Culture, Government of India, Gajendra Singh Shekhawat, the event in Delhi carried both ceremonial significance and artistic gravitas. Supported academically by Sangeet Vidya Niketan as the Education Partner, under the convenorship of Odissi guru Madhur Gupta, the gathering situated performance within a wider pedagogical and reflective framework dedicated to the transmission and continued relevance of the classical arts. Founded in homage to the legendary late Pt Birju Maharaj, the event became a collective act of breathing memory, where art transformed into both offering and refuge. Rooted in deep love for the form, the gathering brought together artistes, students, and connoisseurs in a shared space of attentive witnessing. The evening began in stillness. A guided meditation led by Zorian Cross gently invited the audience into an introspective state, serving as an apt prelude to an art form that thrives on rhythmic immersion and inner listening. The first major segment, Anciently Mine, emerged as an atmospheric, almost operatic experience. Led by Cheryl Bains on vocals and Tomasz Pajak on violin, the piece drew from an excerpt of a poem by Pedro Salinas. At first glance, one might wonder how Western classical music finds its place within an event dedicated to Kathak; yet the juxtaposition revealed itself as a dialogue across cultures. Both traditions, after all, are rooted in discipline, emotional depth, and a shared search for transcendence.  Shivani Verma The Kathak performances that followed were directed and choreographed by Pandit Rajendra Gangani. The segment titled Ibadat - meaning worship, service, and complete devotion - opened with a solo by Shivani Verma that felt like visual poetry. Draped in a veil and bathed in blue light, she moved in circles around a tree that formed the centre of the stage design, as though wandering through a quiet forest of longing. Her presence was emotionally resonant, though at moments the handling of the veil felt slightly restrained rather than entirely fluid.  Students of Pt Rajendra Gangani In Naad - a Sanskrit term signifying sound, vibration, and resonance - Shivani Verma and the students of Pandit Gangani performed together in a harmonious ensemble. While the choreography leaned more toward nritta than abhinaya, the intricate footwork and rhythmic clarity were compelling, even as one found oneself yearning for a deeper exploration of bhava beneath the structure.  Pt Rajendra Gangani As the cold air settled over Safdarjung Tomb, the evening reached its crescendo with Brahma, where Pt Rajendra Gangani commanded the stage with unmistakable authority and artistry. His mastery over rhythm and ghungroo articulation was evident in every step. In his rendition of Mayur ki Gat, he evoked the temperament of a peacock - proud, playful, and regal. Through subtle wrist movements, delicate hamasasya hasta, sharp spins, and grounded yet buoyant footwork, he animated the bird’s quiet vanity and majestic poise. One could almost imagine feathers unfurling in the stillness around him. As the night drew to a close, the chill in the air became inseparable from the mood of the evening. Looming behind the stage, the Safdarjung Tomb lent the performance a sense of architectural timelessness. The event fulfilled its intent: to honour the legacy of Pt Birju Maharaj with sincerity, discipline, and devotion to the art form he shaped so profoundly. World Kathak Day thus stood as a reaffirmation of Kathak’s enduring relevance, leaving many with a quiet ache in the heart long after the final ghungroo fell silent.  Srishti Kashyap is training in Odissi under Madhur Gupta at Sangeet Vidya Niketan, New Delhi. Before turning to Odissi, she completed her Visharad in Sattriya under Guru Durgeshwar Baruah. Her engagement with literature and dance converges in her writing, where she aims to blend analytical clarity with the empathy that comes from lived practice. |
