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 Shivaarghya Festival 2026: A bael leaf votive to Nataraja- Bibin Balane-mail: punarjjaniculturalcentre@gmail.com Photos courtesy: Ganesa Natyalaya March 18, 2026 This time, I booked my return ticket from my hometown with a clear plan; not to miss the sixth edition of the Shivaarghya Festival on March 1, 2026. I had been fortunate enough to attend the festival on the previous two occasions, and its distinctive spirit had stayed with me. Shivaarghya was envisioned as a dance offering to Lord Nataraja on the occasion of Shivaratri by the late Guru Saroja Vaidyanathan. After her demise, the festival has continued under the guidance of Rama Vaidyanathan, and today it stands as a significant event in Delhi's cultural calendar. The festival also forms part of the Swarna Saroja series marking the 50th anniversary celebrations of Ganesa Natyalaya. Each event in this commemorative series has drawn both strong performances and enthusiastic audiences. The sixth edition of Shivaarghya was inaugurated by Sachchidanand Joshi, Member Secretary of the Indira Gandhi National Centre for the Arts. In his address, Joshi spoke about the concept behind the Shivaarghya Festival, reflecting on the transformations that Indian culture underwent during the medieval period and how contemporary efforts are working toward restoring and reconnecting with those ancient traditions. He also touched upon the place of the arts in modern society, observing that the professional priorities of the younger generation need to shift in accordance with the demands of culture. In a pointed remark, he said that society should move from saying, "My son or daughter is a doctor who also studies dance," to a moment where it can proudly say, "My son or daughter is a dancer who also studies MBBS." Held from afternoon to evening, the festival brought together nineteen dancers representing six classical traditions - Bharatanatyam, Kathak, Odissi, Kuchipudi, Sattriya and Neo-Classical dance. Each performance echoed the spiritual essence of dance as an offering to Lord Shiva, revered as Nataraja, the cosmic dancer. Kathak interpretations  The performances began with an energetic Kathak trio by Gaurav Shridhar, Gaurav Javda and Hareendra Kumar Bhushan. Their choreography created a rhythmic loop of movement and energy, weaving intricate footwork with expressive gestures. The synchronisation of spins, rhythmic patterns and dynamic stage presence set an engaging tone for the evening. The Kathak repertoire included performances by Aditya Garud, Ravi Yadav, and Sushant Gaurav, in addition to the opening trio. Their presentations combined traditional compositions with rhythmic improvisations and expressive storytelling. The audience was captivated by the dancers' energetic tatkar (footwork), elegant spins and intricate rhythmic dialogues with the accompanying music. The performances illustrated the distinctive grace and dynamism of Kathak while maintaining the devotional spirit of the festival. Bharatanatyam performances  The Bharatanatyam segment featured several accomplished performers from across the country. Among them, Anand Satchidanandan from Maharashtra presented a powerful interpretation rooted in traditional technique and expressive storytelling. A Bharatanatyam solo presented by Manish Kumar highlighted both technical precision and devotional depth. The performance drew appreciation for its expressive abhinaya, where devotion and narrative expression blended seamlessly with rhythmic patterns and graceful movement. A particularly striking moment of the evening came with the Bharatanatyam presentation by Athul Balu PP from Chennai, who appeared on stage along with his young disciple Shamanthaka. The duet brought a refreshing sense of youthful vitality and remarkable precision to the stage. What made the performance especially memorable was the presence of the eleven-year-old Shamanthaka, whose confident stage presence and expressive clarity left the audience visibly astonished. The graceful movements turned the piece into one of the most captivating highlights of the evening. Other Bharatanatyam dancers included Dr. Himanshu Srivastava, Nilava Sen, Pritam Das, Vinay Tiwari, Shreyas Nair, and Dr. Sridhar Vasudevan. Each artiste presented choreographies that explored rhythm, mythology and devotional themes, reflecting the form's intricate blend of movement vocabulary and expressive storytelling. The variety within the Bharatanatyam segment highlighted how artistes from different regions interpret the same classical idiom through their unique training and artistic sensibilities. Odissi and other classical traditions  The Odissi segment featured performances by Rahul Varshney, Vishwanath Mangaraj, and Rudra Prasad Swain. Their presentations reflected the lyrical beauty and sculptural quality of the Odissi tradition, characterised by graceful torso movements, expressive gestures and mythological storytelling. In addition to these major forms, the festival also showcased solo presentations in other classical traditions. Suryanarayana Rao P. presented the vibrant and dramatic style of Kuchipudi, known for its theatrical expressiveness and fluid movement. The spiritual and graceful tradition of Sattriya was represented by Partha Pratim Hazarika, whose performance reflected the devotional roots of the form originating from the Vaishnavite monasteries of Assam. Adding a contemporary dimension to the evening, Shubhajit Khush Das performed a Neo-Classical work that blended classical vocabulary with modern interpretive elements, illustrating the evolving possibilities within Indian dance traditions. A gathering of classical dance traditions One of the most different and attractive aspects of the Shivaarghya Festival is its exclusive focus on male performers in classical dance. I remember what Dr. Karan Singh said during last year's Shivaarghya Fest. Historically, male dancers have played crucial roles in the development of Indian classical traditions, yet in many contemporary contexts female performers often dominate the stage. By providing a dedicated platform for male dancers from across India, Shivaarghya seeks to highlight their artistic journeys, discipline and devotion. The festival thus becomes a meeting ground for artistes from different regions and traditions, fostering dialogue and collaboration within the classical dance community.  Dr.Sandhya Purecha, Rama Vaidyanathan, Sachchidanand Joshi Speaking about the festival, Rama Vaidyanathan, President of Ganesa Natyalaya, said, "Continuing the tradition initiated by my Guru and our founder, late Saroja Vaidyanathan, we are delighted to host the sixth edition of Shivaarghya. This festival brings together artistes from across the country to celebrate the living traditions of Indian classical dance." Towards the concluding moments of the ceremony, Dr.Sandhya Purecha, Chairperson of the Sangeet Natak Akademi, addressed the gathering and reflected on the significance of creating meaningful platforms for dancers. She emphasised that providing a stage to artistes is perhaps the greatest offering one can make to the art form. Remembering Guru Saroja Vaidyanathan, she acknowledged her immense contribution to Bharatanatyam and to nurturing generations of dancers. Legacy of Ganesa Natyalaya More than just a performance platform, Shivaarghya continues to embody the spiritual essence of Indian classical dance. Each performance at the festival serves as a symbolic offering to Lord Shiva, whose cosmic dance represents the rhythm of the universe. Through its celebration of tradition, devotion and artistic excellence, the Shivaarghya Festival has established itself as a distinctive event in Delhi's cultural landscape, one that honours the timeless connection between dance and the divine.  Bibin Balan, Managing Editor of Punarjjani Bharat, is working on cultural advancement based on digital media platforms. His area of focus is on promotion of performing arts and digital contents under this category. He is a Yoga Educator based in New Delhi since 2008. |
