Posted on 17 October 2026
💫 YathraRhythm: Poetry in Motion
PARAMPARA 2026 Kolkata: A Mahalaya Evening Where Indian Classical Dance Came Alive
As Mahalaya dawned, Gyan Manch, Kolkata, became a sanctuary of rhythm and reverence for the fourth edition of PARAMPARA, the annual dance festival presented by Nritya Dhrupadi Music and Dance Research Centre with Bharatiya Vidya Bhavan, Kolkata, and Infosys Foundation, Bengaluru. Kathak, Bharatanatyam, Odissi, Kathakali and Gaudiya Nritya shared one stage, woven together by the living thread of Guru-Shishya Parampara.
The evening began with an invocation to Goddess Durga through “Jaago Tumi Jago” and “Sharat Tomar”, awakening Shakti, the divine feminine force of strength and creation. Then came “Raas-Rachat”, a Kathak tribute to the eternal Raas Leela of Radha and Krishna, rooted in the legacy of Padma Vibhushan Pandit Birju Maharaj, where rhythm and longing became one.
Bharatanatyam followed with “Namah Shivaya” and “Aigiri Nandini”, pairing Shiva’s cosmic power with Durga’s fearless grace through sculptural movement and expressive abhinaya. “Ya Devi Sarva Bhuteshu” offered a tender hymn to the Divine Mother present in every being.
The segment “Mahaganapatim and Todiyam” began with a salutation to Lord Ganesha, the remover of obstacles. It then moved into a graceful exploration of technique in Raga Nattyei and Adi Talam, where devotion and discipline met.
Kathakali, Odissi, Gaudiya Nritya and the Divine Feminine on Stage
As the Mahalaya evening at Gyan Manch deepened, PARAMPARA 2026 turned from invocation to full-bodied storytelling.
Kathakali artistes Shri Amrit Khatua, Smt Madhumita Banerjee Khatua and Smt Soumanti Khatua opened with “Saari” and “Duryodhan Vadham” in Chempada Taalam. Their stylised vocabulary brought the dramatic intensity of this classical dance-theatre to life.
Kathak returned through the disciples of Nritya Dhrupadi in “Jai Madhav Madan Murari”, a Krishna bhajan of melodic devotion, and “Yaman Tarana”, composed by Padma Vibhushan Pandit Birju Maharaj, where rhythm took the lead. Guest artiste Dr. Arpita Venkatesh then presented the Odissi abhinaya “Kede Chhanda Jane Lo Sahi”, based on the poetry of Banamali Das. Through the banter of two sakhis, it unfolded the mischief, the encounters with Putana and Bakasura, and the revelation of the universe to Mother Yashoda. The piece was choreographed by Padma Vibhushan Guru Kelucharan Mohapatra, with music by Pandit Bhubaneshwar Mishra.
The heart of the evening was “Devi”, a group production conceived and choreographed by director Dr. Sucharita Datta Ghata, with music by Shri Chandrachur Bhattacharya. It was a collective tribute to Shakti as power, creation and spiritual energy. “Pahimam Shri Raja Rajeshwari”, in Raga Janaranjani and Adi Talam, added a reverential appeal to the Divine Mother.
Gaudiya Nritya, the classical heritage of Bengal, was presented by Dr. Mahua Mukherjee and Shri Ayan Mukherjee. “Durga Mangalacharan” drew on the Durga Saptashati and Kamakhya Purana, with music by Pandit Amitava Mukherjee. “Ardhanarishwar” followed, a portrait of Shiva and Parvati as Purusha and Prakriti, unity within duality.
The senior disciples closed the group segment with Bharatanatyam: “Bho Shambho”, “Ghana Ghamanda”, “Jhula” and a spirited “Tillana” in Raga Chenchurutti and Adi Talam. The evening then moved to live Kathak by Shri Souvik Chakraborty, accompanied by Shri Biswajit Pal on tabla, Shri Jaydeep Sinha on vocal, Shri Sunando Mukherjee on sarod and Smt Ayantika Bag on bol padhant. Together they let laya, tala and footwork converse with music.
Dr. Sucharita Datta Ghata’s Kathak Recital Crowns Kolkata’s Classical Dance Festival
As the Mahalaya evening drew to its close, the stage at Gyan Manch belonged to Dr. Sucharita Datta Ghata, director of Nritya Dhrupadi, in a solo Kathak recital of rhythm and feeling.
She opened with “Tabo Achinta” in Madhya Teentaal, unfolding the measured grace of Kathak’s rhythmic development. She concluded the solo with “Ghire Ghire Aayi Badra”, an abhinaya composition by Padma Vibhushan Pandit Birju Maharaj. Here the dance moved beyond intricate patterns into lyrical depth and emotional nuance.
Then came “Chaturang”, in which she was joined by her senior disciples for a live Kathak recital across the different speeds of Teentaal. Coordinated movement, rhythmic complexity and the lively exchange between dancer and accompaniment built steadily towards tatkar, the thunderous footwork that defines Kathak. It was a fitting, energetic finale.
The fourth edition of PARAMPARA brought Kathak, Bharatanatyam, Odissi, Kathakali and Gaudiya Nritya together through devotional invocations, traditional compositions, original choreography and live music. The guest artistes revealed the distinct aesthetics of their forms, while the disciples of Nritya Dhrupadi showed an institution devoted to nurturing young dancers and sustaining the Guru-Shishya tradition. The evening reaffirmed classical dance as a living art, evolving through practice, research and performance while rooted in its cultural soil.
Nritya Dhrupadi expressed its gratitude to Bharatiya Vidya Bhavan, Kolkata, and Infosys Foundation, Bengaluru, and to the artistes, musicians and technical team who brought the festival to the stage.
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