|     |
|
| |
REVIEW / REPORTPraveg: From Root to Resonance- Bijoy Shivrame-mail: bijoyshivram@gmail.com Photos: Saumya Shah May 9, 2026 At the heart of Sangati Centre for Performing Arts lies the artistic vision of Guru Vaishali Trivedi - vocalist, dancer, choreographer and mentor - whose work reflects a considered engagement with Kathak that resists stagnation without severing its roots. Her choreography reveals a mind attentive to both structure and possibility, while her pedagogy is evident in the clarity, discipline and evolving individuality of her students. A significant pillar of the evening was the presence of Pt. Rameshbhai Bapodara, whose tabla accompaniment in the recordings did more than support - it actively shaped the kinetic environment of the performance. His command over laya and tonal nuance ensured that rhythm remained a living force rather than a mere framework. Titled 'Praveg' - acceleration - the evening proposed momentum not only in tempo, but in artistic thought. Presented at the Evoke Performing Arts Center, Ahmedabad, in the presence of Guru Smita Shastri and Prof. Dr. Parul Shah, the programme unfolded as a curated progression through varying levels of training and choreographic intent.  Ganesh Vandana The opening Ganesh Vandana in Ektaal set a tone of restraint and composure. Performed by Nitya Desai, Diya Shah, Anvita Munshi, Priyakanshi Shukla, Yashvi Trivedi, Anika Bhattacharya, Shrida Gupta, Aanya Joshi, Komal Bhagora and Priya Shah, the piece demonstrated a commendable alignment between group symmetry and individual awareness. While the abhinaya retained a gentle sincerity, it was the measured clarity of movement that anchored the work. Vaishali Trivedi's live vocal support added intimacy, though at moments one sensed the dancers still negotiating the balance between musical immersion and spatial precision. The steady, unobtrusive grounding by Ramesh Bapodara's tabla ensured cohesion.  Tarana The Tarana in raag Jog, set to an unconventional 13-beat cycle, offered a more demanding rhythmic canvas. Here, Salomi Shah, Anar Jaikrishna, Vaishali Shah, Vaama Patel, Anushka Shah and Khevna Mehta displayed a growing command over tempo and coordination. The choreography, while structurally sound, found its strength in moments where the dancers allowed the phrasing to breathe rather than merely execute. The music by Sanjeev Vidhyarthi and Ramesh Bapodara was richly layered, and Vaishali Trivedi's choreographic response translated this complexity with clarity, supported by the understated elegance of Shimul Jhaveri's costume design.  Mother Nature The group presentation by the junior and intermediate students - Anaya Purohit, Divisha Manchhani, Kiara Joshi, Viona Randeri, Mehr Mittal, Rayna Patel, Meha Gosalia, Maheera Shekh, Vishika Bajaj, Amoli Choksi, Reeva Soni, Gunjjan Rokade, Shefali Nayan, Saher Pathak, Karina Damani, Reet Shah, Ruhi Rathod and Shalvi Parikh - successfully bridged pedagogy and performance. Beginning with foundational Kathak vocabulary, the work transitioned into a thematic reflection on Mother Nature. While the conceptual intent was clear and timely, its strongest moments lay in the unison passages, where training and discipline were most evident. Ramesh Bapodara on tabla lent rhythmic assurance and the costumes by Dhwani Shah Desai contributed to a cohesive visual identity.  Half Circle Half Circle, the central work of the evening, marked a distinct shift in tone and ambition. Vaishali Trivedi's choreography here moved beyond format into inquiry, drawing from Kathak while engaging with contemporary, hip-hop and flamenco influences. Importantly, these were not superficial borrowings but appeared as considered extensions of her movement vocabulary. The metaphor of the half circle - suggesting incompleteness and evolving identity - was articulated through a choreography that moved fluidly between stillness and dynamism. Performed by Salomi Shah, Kalrav Dave, Anar Jaikrishna, Vaishali Shah, Vaama Patel, Khevna Mehta, Priyanshi Jain, Anushka Shah and Vaishali Trivedi, the piece revealed varying degrees of individual assimilation, with some dancers negotiating the transitions between idioms more seamlessly than others. The music, ranging from Manuel Wanji and Daser Yousuff to contemporary compositions, created an evocative yet occasionally dense soundscape. Vaishali Trivedi's own stage presence brought a certain gravitas, anchoring the ensemble, while the lighting design by Harish Upadhyay effectively sculpted the spatial and emotional shifts. As a work, Half Circle stood out for its intent and layered construction, even as it invites further refinement in ensemble coherence.  Chaturang The Chaturang in raag Bageshree, performed by Salomi Shah and Anar Jaikrishna, returned to a more classical framework. The interplay of khayal, tarana, sargam and tihai was handled with sensitivity and the dancers demonstrated a growing ease in navigating its layered demands. Niraj Parikh's vocal rendering provided a strong musical anchor, while Vaishali Trivedi's choreography maintained a clear structural arc without overcomplicating the form.  Holi The concluding Utsav – Holi, set to a Meera bhajan, brought the evening to an energetic and accessible close. Performed by Vaama Patel, Anvita Munshi, Priyanshi Jain, Khevna Mehta, Nitya Desai, Bharvi Desai, Komal Bhagora and Kalrav Dave, the piece balanced festivity with devotion, though at times its exuberance leaned more toward theatricality than nuance. The music by Pt. Atul Desai and the ever-reliable rhythmic support of Ramesh Bapodara sustained its vitality, while Vaishali Trivedi's choreography ensured that the celebratory tone remained rooted in Kathak idiom. Praveg, in its entirety, reflected a thoughtfully curated evening that foregrounded both process and performance. While not every segment reached the same level of maturity, the programme as a whole revealed a pedagogical ecosystem that values rigour, exploration and artistic continuity. Under Vaishali Trivedi's direction and with the rhythmic strength of Rameshbhai Bapodara, the 'acceleration' suggested by the title emerges not merely as speed, but as a steady and considered progression in artistic practice.  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. |
