In the flow of Tradition:

Pt. Jagdish Gangani and the Spirit of Kathak Darshan

- Bijoy Shivram
e-mail: bijoyshivram@gmail.com
Photos: Tushar Pathak

April 17, 2026

"न केवलं यो नर्तकः रसिकश्च स्यात् परार्थभावेन सदा प्रवृत्तः।
हृदयपूर्णः सततम् सत्यनिष्ठः स एव कलाकारः इति प्रकीर्तितः॥"
"A true artist is not merely one who performs or appreciates, but one who lives in service, with a heart anchored in truth - only such a being is worthy of the name kalākāra."

In the culturally resplendent city of Vadodara - often hailed as the cultural capital of Gujarat - the arts have never been incidental; they have been consciously nurtured, shaped and sanctified. From the enlightened patronage of the Gaekwad rulers, who in dowry got Devadasis to seed the region with classical traditions, to the formal institutionalization of the arts at the Faculty of Performing Arts, Maharaja Sayajirao University, the city has sustained an unbroken dialogue between tradition and evolution. What began in 1886 under Maharaja Sayajirao Gaekwad III, with stalwarts like Prof. Mawlabaksh guiding its vision, grew into a formidable crucible of artistic excellence.

Within this lineage, Pandit Sunderlal Gangani stands as a seminal force, embedding the Jaipur Gharana's robust grammar into the academic fabric of the institution. Today, that luminous inheritance finds its most ardent and expansive expression in his son, Pt Jagdish Gangani - an artiste for whom Kathak is not a discipline to be practiced, but a truth to be lived.

For Pt. Jagdish Gangani, Kathak breathes through every gesture, every pause, every rhythmic articulation. His artistry is not confined to performance; it permeates pedagogy, curation and a lifelong commitment to parampara. As a Guru, he does not merely instruct - he chisels, refines and ignites. His disciples, spread across geographies, carry within them the unmistakable imprint of his rigorous training, aesthetic clarity and uncompromising devotion to the form.

It is this deep-rooted reverence - for his Guru, his father and the tradition itself - that finds profound expression in the Kathak Darshan Festival, an offering he instituted as a tribute to Pandit Sunderlal Gangani. Now in its remarkable 24th year, the festival has evolved into far more than a performance platform; it is a sacred confluence where rhythm, memory and meaning coalesce. Under his vision, Vadodara transforms into a living shrine of Kathak, where the past is not merely remembered but re-experienced and reimagined.

"गुरुपरम्परा प्रवाहः न कदाचन विरमति"
"The flow of the Guru–Shishya lineage never ceases."

The evening of February 16, 2026 unfolded as a seamless continuum of this philosophy - each presentation reflecting Pt. Jagdish Gangani's curatorial depth, where pedagogy and performance merge into a singular aesthetic experience.

Rakshita Jain

The festival commenced with the intellectually rich and philosophically layered composition, "Journey of 16 Beats," originally conceived by Pandit Sunderlal Gangani. Translating numerology into movement, the piece traversed the symbolic significance of numbers from one to sixteen - beginning with "Eka Brahma…", invoking the singular cosmic origin and gradually unfolding into Dwaita, Triloka, Panchatatva, culminating in the evocative imagery of Shodasha shringar. Each beat was not merely executed but inhabited, transforming rhythm into contemplation. Performed by Rakshita Jain, the presentation bore a quiet intensity and structural clarity, with Pt. Jagdish Gangani's choreographic sensibility evident in its precision and philosophical depth - a rare confluence of mathematics and dance.

Dr Samira Koser

Dr. Samira Koser's solo recital followed, marked by a refined balance of technique and bhav. Supported by the nuanced tabla of Mahmood Khan and the melodic grace of Ramesh Parihar, her performance unfolded as an intimate dialogue between rhythm and movement. Her nritta shimmered with contained oorja, while her abhinaya revealed a sensitive engagement with lyrical space. There was an unhurried dignity in her performance, allowing each movement to breathe, embodying the essence of the dictum "नृत्यं तद् यत् भावयति" - that which evokes and transforms is dance.

Students of the Faculty of Performing Arts

Nritya Abhilasha, presented by the students of the Faculty of Performing Arts, stood as a vibrant testament to Pt. Jagdish Gangani's pedagogical vision. Conceptualized and choreographed by him, the work wove together the pristine grammar of Kathak with a subtle contemporary sensibility. The choreography explored the dynamic interplay between nritta and nritya, juxtaposing rhythmic exploration with expressive storytelling. The ensemble displayed commendable synchrony and discipline, while also embracing an expansiveness that spoke of evolving artistry. The evocative vocals of Shivam Singh lent emotional depth, binding the visual and sonic elements into a cohesive whole.

Dr. Preeti Sathe Damle

The finale, presented by Dr. Preeti Sathe Damle, brought the evening to a powerful and resonant crescendo. A dedicated disciple of Pt. Jagdish Gangani, her performance reflected a deep internalization of the tradition. Rooted in paramparik Kathak, her recital traversed thaat, tippali paran, darajjewali paran, intricate tihais and nuanced chalans of mishra jati with command and grace. The kavitt based on barakhadi stood out for its inventive blending of rhythmic articulation and poetic imagination.

Ustad Sukhvinder Singh Pinky

Accompanying her was the eminent tabla maestro Ustad Sukhvinder Singh Pinky, whose virtuosity elevated the performance into a vibrant arena of dialogue. The sawal-jawab between dancer and percussionist was electrifying - an interplay of challenge and celebration, intellect and instinct - revealing Kathak in its most vital essence: a living, breathing conversation.

Continuing its tradition of honouring excellence, the festival marked the fourth year of the "Pandit Sundarlal Gangani Chandrakala Sanman." This year, Guru Shobha Koser - a distinguished Kathak exponent known for her grace, depth of abhinaya and lifelong dedication to nurturing the art - was felicitated for her invaluable contribution to the field. Owing to her ill health, the honour was graciously received on her behalf by her son, adding a poignant note of continuity and familial reverence to the moment. In a gesture of thoughtful inclusion, Pt. Girdhar Sharma, unable to attend due to ill health, was honoured separately in his hometown of Sujangarh in Rajasthan. The proceedings were seamlessly anchored by Darshan Purohit, whose articulate and poised presence ensured a graceful flow throughout the evening.

What ultimately distinguishes this festival is not merely its programming, but the spirit that animates it - the relentless passion and expansive vision of Pt Jagdish Gangani. In him, tradition finds both a guardian and a seeker; one who preserves with reverence yet expands with courage. Through his tireless dedication, the Kathak Darshan Festival has become a sanctified space where each gesture is an offering, each rhythm a remembrance.

In an age of fleeting expressions, Pt. Jagdish Gangani stands as a rare and enduring force - a custodian of legacy, a torchbearer of parampara and above all, a soul for whom dance is not an act, but an eternal state of being.

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.