Hegde Dance Academy presented an evening of Indian classical dance that brought together Bharatanatyam and Kathak in a structured recital rooted in devotion, rhythm, and tradition. The programme reflected a sincere commitment to classical training while offering audiences a balanced blend of expressive storytelling and technical exploration.
The evening commenced with the traditional Todaya Mangalam in the Bharatanatyam style Jaya Janaki Ramana performed by the students of the academy as an auspicious invocation. The presentation established a devotional atmosphere. Chaitra Hegde and Amruta Sinchana portrayed episodes such as Seeta Kalyana and Narasimha Avatara, bringing out the compassion, strength, and divinity associated with Lord Rama through expressive abhinaya and clear nritta passages.
The Kathak segment by Naveen Hegde the director of the Academy began with a Ganesha Vandana set to Ektaala, combining the Ganesha Kavitha with elements of Jaipur Thaat, Parans, and traditional Tukdas. The composition, beginning with “Prathama Sumara Sri Ganesha, Gauri Suta Priya Mahesha,” invoked Lord Ganesha as the remover of obstacles while emphasizing harmony and goodwill. The choreography incorporated depictions of various deities praising Ganesha through their respective instruments, interwoven with rhythmic passages and expressive interpretation. The vocal support by Arnav Buwa complemented the presentation effectively and added depth to its devotional character.
This was followed by a Shiva Vandana inspired by the Maheshwara Sutras and set to Jhaptaal. The composition “Hara Hara Mahadeva Kailasapate Shiva” explored various aspects of Lord Shiva through a combination of Paranas, Amad, intricate footwork, and abhinaya. The portrayal of Bhasmadhara reflected the philosophical idea of dissolution into the five elements, while sequences depicting Shiva’s Tandava, Pinakadhara, and the descent of Goddess Ganga demonstrated careful attention to imagery and movement vocabulary. The composition and vocal rendition by Sri Fiaz Khan provided a strong musical foundation to the presentation.
The Sabha Karyakrama included the felicitation of Chief Guest Sri Narasimha Prabhuji and Guest of Honour Chinmay M Rao in recognition of their presence and support towards the arts and cultural initiatives.
The latter half of the evening focused on a traditional Teentaal recital drawing from the Lucknow Gharana. Beginning with an Upaj, the segment gradually unfolded through Uthaanas, Thaat, Tihais, and Tukdas presented across varying layas. Naveen Hegde maintained the traditional practice of reciting compositions before performing them, allowing the audience to engage more closely with the rhythmic structure of the recital. The transition from Vilambit to Drut Laya was handled with clarity and control, and the concluding Ladi in Tishra Gati brought the segment to an energetic close.
The programme concluded with a Guru Vandana dedicated to Sadguru Bhagwan Sridhara Maharaja of Varadalli. Sacred verses including “Dhyana Mulam Guru Murthy,” “Akhanda Mandalaakaram,” and “Guru Brahma Guru Vishnu” were presented with devotion and restraint, reflecting gratitude towards the Guru–Shishya Parampara. The presentation once again highlighted the thoughtful incorporation of selected Karanas from the Natya Shastra into the traditional Kathak rangmanch, creating a distinctive blend of ancient movement principles with the aesthetics of Kathak performance.
Overall, the recital reflected disciplined training, adherence to classical traditions, and a sincere artistic approach. The programme successfully balanced devotional content with technical presentation, offering audiences an engaging and culturally rooted classical dance experience while highlighting the academy’s commitment to preserving and presenting India’s rich classical heritage.
25-5-2026
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