REVIEW / REPORT

Guru Naman - Rhythms of Reverence

- Pratik Mahant
e-mail: pratikmahant2012@gmail.com
Photos: Sandeep M

October 13, 2026

Guru Naman was an evening of Kathak where a garland of rhythmic compositions was offered to the Gurus. There are some evenings that evoke a sense of devotion in the rasikas, who experience art beyond the mere performance. 'Guru Naman - Rhythms of Reverence' presented by Nupur Zankar Academy of Performing Arts and Research Centre under the artistic vision of Shila Mehta, was one such evening - a heartfelt celebration of the timeless Guru-Shishya Parampara, where every artistic offering exuded the fragrance of gratitude.

Held at the Ravindra Natya Mandir, Mumbai, on the 1st of September 2026, the evening brought together an illustrious group of artistes, Gurus, disciples and rasikas. At its heart was a deeply personal tribute to Pandit Suresh Talwalkar, whose profound understanding of Taal has influenced generations of musicians and dancers, and whose teachings have enriched Shila Mehta's own artistic journey.

The Guru-Shishya Parampara is a legacy, as described in this shloka;
Sadā śiva samāramabhāṃ śaṅkarācārya madhyamām
asmadācārya paryantāṃ vande guru paramparām

The boundless river of the Guru Parampara emerges from Sadashiva himself, whose damaru reverberates to create the primordial rhythm of the universe. The teachings of our ancient performing arts are passed down to the shishya by the Acharya (Guru), over innumerable generations to the present one. The evening of Guru Naman was a homage to this beautiful tradition, where Shila Mehta, her disciples and guest artiste Nikhil Parihar presented themselves as torchbearers of this rich parampara.

The first dance offering of the evening came from Shila Mehta, whose artistic journey spans more than four decades. A disciple of Guru Pt. Vijai Shankar, Shila Mehta has devoted her life to the exploration, preservation and expansion of Kathak. An accomplished dancer, choreographer, educator, curator and scholar, she has carried Kathak across geographical and cultural boundaries while remaining firmly anchored in its traditional vocabulary. Her doctoral research at the University of Mumbai explores the transcendental dimensions of Indian classical dance and its relationship with societal wellbeing. Her pioneering work in bringing the Charani ballad-singing tradition into the vocabulary of Kathak as "Charani Kathak" further reflects her continuing engagement with India's diverse cultural heritage.

Shila Mehta

Oon this evening, it was her sheer artistry that spoke. She commenced with a Vishnu Vandana "Śāntākāraṃ Bhujagaśayanaṃ", which was an elevating start to the evening. She presented the quintessential repertoire of Kathak in Teentaal, of Upaj, Thaat, Aamad, Todas, Parans and Tihais. She performed compositions learnt from Pt. Vijai Shankar such as the popular Uthaan, Tisra Jaati Ginti Ki Tihais, Aamad Toda and Parans. She also performed some of the rare compositions learnt from Pt. Suresh Talwalkar such as Thaat demonstrating the different Jaatis (Tisra, Chatusra, Khanda and Mishra) which was rhythmically complex and had the nazaakat of the pure Lucknow Gharana thaat. The genius of Pt. Talwalkar lies in his ability to bring alive the musicality and lyricism of nritta bols, which can otherwise sound jarring to the rasika's ears. The much performed Dha Taka Thunga Paran-Aamad received a new lease of life through his creative composition and Shila's execution. Its unexpected Dam (pauses) and variations delighted the discerning audience. His popular Qayda was rendered flawlessly by Shila. She later presented a few challenging Jaipur vocabulary bandishes in Lucknow Gharana Ang, which highlighted the subtle shades of both traditions, such as "Dee ta ta gadigana" and "Traka dheta". Shila's dance exemplifies mastery over all aspects of nritta such as Anga Shuddhi, technical precision and musicality.

Following her Teentaal repertoire was an exquisite Bhaav Paksh presentation - "Ja Ja Madhav Ja Ja Keshav", a composition by Pt. Vijai Shankar in raag Bhatiyaar inspired by the popular Jayadeva ashtapadi, Yahi Madhava Yahi Keshava. Radha is distraught when Krishna doesn't return at night to unite with her. The spectrum of her emotions beginning with excitement at his arrival, her disappointment which then turns into jealousy and rage were portrayed effortlessly by Shila. The Khandita Nayika characterisation was so powerful that it made one empathize with Radha.

Her performance was followed by "Guru Abhivadan", a ceremony to honour Pt. Suresh Talwalkar. Among those who felicitated him were Manipuri Guru Darshana Jhaveri; Swami Devakantyananda of Ramakrishna Mission, Khar; Odissi exponent Shubhada Varadkar, and Bharatanatyam exponent Revathi Srinivasaraghavan.

Nupur Zankar students

Pt. Suresh Talwalkar then addressed the gathering and blessed the students, adding another meaningful layer to a deeply moving segment. He spoke about the distinction between "Sadhana" and "Riyaaz". "Sadhana", a practice that becomes so ingrained in the artiste's system that he or she feels uneasy when out of touch with the artform for a single day. He has embodied this throughout his journey as a maestro, and has inspired thousands to take up the path of excellence and "Sadhana".

The budding dancers of Nupur Zankar then took centre stage in presentations of Teentaal, Thumri and Tarana. Their confidence proved testament to the rigorous training received from their Guru. The tiny tots presented Teentaal bandishes and Kavittas. The senior students presented a beautiful Thumri by Pt. Birju Maharaj, "Ae ri sakhi", and then concluded with a Tarana composed by Pt. Vijai Shankar in raag Janasammohini. The colourful and aesthetic costumes added a touch of elegance to the entire presentation.

Nikhil Parihar

The concluding performance was by the energetic dancer Nikhil Parihar, a disciple of Pt. Rajendra Gangani. He has been training with Pt. Suresh Talwalkar in Taal Paksh. He was an exemplar of the vibrant Jaipur Gharana, his performance replete with mind-numbingly intricate footwork and lightning fast chakkars. He began with a Shiva Stuti "Rangeela Shambhu" and then segued into Taal Dhamaar. He presented an entire repertoire in Dhamaar from Thaat, Aamad, Todas, Parans and Tihais. His performance was highly appreciated by the audience, and the evening culminated on a high note.

The music ensemble included Ishan Paranjape on tabla, Acharya Shambhu Lahari on vocal, Chinmay Mathpati on harmonium, Sumana Sachidananda on padhant. The emcee was Pooja Deshpande.

Pratik Kumar Mahant is an Assistant Professor of Communication at NMIMS, Mumbai, and has published research papers on performance based pedagogy in Scopus and Web of Science indexed journals. Additionally, he has directed a documentary feature on 'Magahi Folk Songs' which premiered at Jagran Film Festival 2026.