By — Dilip Guha

 hosted the annual event “Vividhā”, a cultural program organised in association with the Ministry of Culture. The program featured various artists and cultural groups from the Delhi NCR region. It took place from July 15 to July 19, 2026, at  Sanmukh Auditorium of the National School of Drama in New Delhi.

Kala Mandali is a distinguished cultural organisation dedicated to the preservation, promotion, and innovative interpretation of India’s rich performing arts heritage since its inception in 2014. Committed to fostering artistic excellence, the organisation works across theatre, folk and classical arts, music, dance, and multilingual performances to celebrate India’s diverse cultural traditions in contemporary contexts.

At the heart of Kala Mandali’s vision is the belief that art is a powerful catalyst for social change, cultural dialogue, and national integration. The organisation actively connects artistic expression with social causes, creating inclusive platforms that amplify the voices of diverse communities, particularly those from underrepresented and transgender (Kinnar) communities, and providing them with opportunities for national recognition.

Over the years, Kala Mandali has presented a wide range of acclaimed productions, including socially relevant theatrical performances, Kathak recitals, folk dance presentations, musical productions, and cultural outreach programmes. Among its landmark initiatives are the national cultural festival “Vividhā”, a series of theatre productions addressing pressing social issues, and “Vande Mataram,” a nationwide cultural campaign celebrating India’s spirit of unity and patriotism.

Driven by the conviction that culture is a bridge between communities, Kala Mandali continues to collaborate with artists, scholars, and cultural institutions across the country. Through these partnerships, the organisation continues to uphold its mission to preserve India’s artistic legacy and inspire new generations through meaningful cultural engagement and creative innovation. 

Kathak Upaj: A Celebration of Spontaneity and Tradition

At the National School of Drama’s auditorium in Delhi, audiences were treated to a vibrant evening on the closing Day of Kathak artistry as three distinguished dancers—Abhay Maharaj, Krishna Maharaj, and Arnab Anand—came together to present Kathak Upaj. This collaborative performance highlighted the improvisational spirit of Kathak, in which rhythm, expression, and dialogue among artists unfold in real time.

The program was performed under the guidance of Secretary Shri Pratibha Singh and Suman Kumar Ji of  Kalamandali, Delhi,   whose direction shaped the evening’s flow. Vocal support came from Rishabh Joshi, with Ghanshyam Sisodiya on the sarangi. The tabla accompaniment, by the artist Sukhdev Rajput, added depth and energy to the rhythmic exchanges. Priyanka Sachdeva contributed with her recitation, further enriching the presentation.

Abhay Maharaj, son of Pandit Tirpurari Maharaj, hails from the illustrious lineage of Padmashree Kalika Bindadin, Padmashree Shambhu Maharaj, and Padmabhushan Pandit Birju Maharaj, as well as Krishna Mohan Maharaj. He has trained under eminent gurus of Kathak and earned recognition from Sahitya Kala Parishad, which awarded him for his artistry. He has also received scholarships from Kathak Kendra, Delhi and Sahitya Kala Parishad, reflecting his dedication to the tradition. His performances are marked by a deep respect for heritage and a flair for improvisation.

Pandit Krishna Dutt Maharaj, son of Shree Ashok Maharaj Ji, is a renowned Kathak dancer, choreographer, and teacher from the prestigious Lucknow Gharana. Trained rigorously under his guru and uncle, Pandit Ram Mohan Maharaj, he blends traditional grace with creative innovation. With over 15 years of experience, he has performed on prestigious national and international platforms and is recognised as a Doordarshan Grade Artist. Beyond performance, he is a devoted teacher who inspires students through the Guru–Shishya tradition, workshops, and lecture demonstrations, carrying forward the spiritual and cultural essence of Kathak.

Aryav Anand, Hailing from an illustrious family of Kathak dancers and Hindustani classical musicians from Patna, Bihar, Aryav Anand represents the rich tradition of the Lucknow Gharana. He began learning Kathak at the age of three under his grandfather, Pandit Balram Lal Anand, and his father, Dr Madhukar Anand, a Gandabandh disciple of Padma Vibhushan Pandit Birju Maharaj. Aryav later trained with Pandit Rajendra Gangani and spent eight years in the Guru–Shishya Parampara under Pandit Birju Maharaj. He is currently training under Pandit Deepak Maharaj.

Together, the ensemble created an atmosphere where tradition met spontaneity—each artist responding to the other, weaving intricate patterns of rhythm and emotion. The performance was not merely a display of technical mastery but a celebration of Kathak’s essence: dialogue, improvisation, and collective artistry.

Bharatanatyam Performances by Nritya Kalashetra Students

As part of a Vividha cultural celebration, the students of Nritya Kalashetra captivated the audience with a series of Bharatanatyam performances choreographed by renowned  Bharatanatyam Dancer  Dr Deepa Chatterjee under the guidance of Dr Rajkumar on the closing day. The presentation highlighted the richness of Indian classical dance while embracing contemporary artistic expressions.

Their programme opened with an Instrumental Dance, a semi-classical Bharatanatyam presentation of Joyful Moments, setting an energetic and celebratory tone. 

This was followed by Shakti Tandav, a powerful depiction of the fierce and transformative energy of Goddess Shakti, portraying themes of strength, protection, and divine feminine power through dynamic movements and expressive choreography. The concepts of Tandava and Lasya are foundational to Indian classical dance traditions, including Bharatanatyam Shakti Tandav. 

A devotional solo presentation of Vinayaka Kavithvam paid tribute to Lord Ganesha, blending graceful abhinaya with intricate rhythmic patterns to invoke the remover of obstacles and celebrate the spiritual essence of Bharatanatyam. 

The audience then witnessed Western Tadka with Bharatanatyam Varnam, a creative fusion performance that seamlessly combined classical dance vocabulary with modern Western elements.

The recital  Tillana in Raga Hindolam was dedicated to Goddess Rajarajeshwari. Performed with vibrant footwork and rhythmic precision, the piece reflected the joy and elegance traditionally associated with the finale of a Bharatanatyam recital.

The final presentation, Jogwa, drew inspiration from the folk traditions of Maharashtra, portraying a devotee’s heartfelt prayer to the Divine Mother through soulful music and expressive movements that conveyed faith, surrender, and spiritual devotion.

The performances received warm appreciation from the audience for their artistic excellence, disciplined execution, and meaningful storytelling, reaffirming Nritya Kalashetra’s commitment to preserving and promoting India’s rich classical dance heritage while exploring innovative forms of expression. 

Rahul Kumar Rajak Enthrals Audience with Classical Kathak Performance 

Rahul Kumar Rajak, a young and accomplished Kathak exponent from Bihar, captivated the audience with a mesmerising performance at VIVIDHA 2026, the annual cultural programme of Kalamandali.

A disciple of the legendary Padma Vibhushan Pandit Birju Maharaj, Guru Shashwati Sen, and Pandit Deepak Maharaj, Rahul has received rigorous training in the Lucknow Gharana of Kathak. In recognition of his outstanding contribution to art and culture, he was honoured with the prestigious Bihar Kala Samman – Amrapali Puraskar by the Department of Art, Culture and Youth Affairs, Government of Bihar. He is also an empanelled Kathak artist with Doordarshan, New Delhi, and has represented India at numerous acclaimed national and international festivals, earning widespread appreciation for his artistic excellence. Alongside his performing career, Rahul is pursuing a PhD in Hindi Literature at the University of Delhi, reflecting his dedication to both academic scholarship and the preservation of India’s classical traditions.

Taking the stage with quiet confidence and traditional elegance, Rahul Kumar Rajak immersed the audience in the timeless beauty of Kathak. His recital began with a serene Krishna Vandana, composed by his revered guru, Padma Vibhushan Pandit Birju Maharaj. With graceful movements, expressive gestures, and devotional intensity, he brought to life the divine charm of Lord Krishna, creating an atmosphere of reverence that immediately drew the audience into the performance.

He then presented a traditional Nritta in Teentaal, demonstrating the intricate rhythmic vocabulary, graceful footwork, and refined aesthetics of the Lucknow Gharana. The dialogue between rhythm and movement held the audience’s attention throughout the recital.

The performance concluded with a captivating Abhinaya based on a celebrated Kajri from Bihar. Through nuanced facial expressions, delicate hand gestures, and evocative storytelling, Rahul vividly conveyed the emotions and imagery embedded in the traditional monsoon folk composition. His interpretation not only highlighted the expressive depth of Kathak but also paid tribute to Bihar’s rich cultural and folk heritage. The recital, seamlessly blending devotional, technical, and expressive elements, earned warm appreciation and enthusiastic applause from the audience.

Speaking to this reporter after his performance, Rahul Kumar Rajak said, “VIVIDHA 2026 is more than a cultural festival; it is a platform where young minds connect with their roots, express their creativity, and inspire the future. When young hearts embrace art and culture, they help build a stronger, more vibrant, and culturally enriched nation.”

VIVIDHA 2026: The four-day festivities include theatre, folk and classical arts, music, and dance, making it a destination for art and cultural lovers, where students participated enthusiastically.