1.      Sargam - This is a melodic arrangement of swaras, composed by the legendary Pandit Birju Maharaj ji. This composition is set in the Raag Malkauns. The composition follows Teentaal, a rhythmic cycle of 16 beats.

This Sargam showcases Maharaj ji’s unparalleled understanding of both melody and rhythm, blending Kathak’s lyrical grace with Hindustani classical intricacy. It is not just a musical piece but an artistic expression that reflects the maestro’s deep connection to both dance and music

Music by Pandit Birju Maharaj- ji

Choreography and Performed by Gurmeet Kaur Marhas

2.      Khusro ki khayal- Smaraki 

Music, choreography and performed by Cyenthia Vijayakumar

Amir Khusro was a Persian scholar, poet, musician, and a prominent figure in the cultural history of medieval India. 

Khusro is often called the "father of Urdu literature" due to his significant role in developing the language. He is known for his poetic works in Persian and his contribution to the development of early Hindi and Urdu poetry and he played a major role in the development of the qawwali music tradition, which remains an integral part of Sufi culture.

A devoted disciple of the Sufi saint Nizamuddin Auliya, Khusro's poetry often explored themes of spiritual devotion and mystical love.

This Composition is a work that is inspired by his poetry. 

The choreography explores the theme of yearning and longing for love, with an uncertainty about whether this love is directed towards another human being or towards the divine. The dancer embarks on a journey of seeking, searching, and desiring, caught between these two realms. The finale reveals the divine presence not in a distant, unreachable form, but in the animals of nature, within the natural world itself, and among all of us. Ultimately, it becomes clear that the love and divinity we seek is not outside, but within ourselves.

3.      Taal Dhamaar-Smaraki 

Music – Pandit Birju Maharaj

Choreography – Cyenthia Vijayakumar and Varsha Prasad

Performed by Gurmeet Marhas and Cyenthia Vijayakumar

Taal Dhamar is a rhythmic pattern characterized by 14 beats, and is known for its dynamic, energetic, and graceful movements, often executed with intricate footwork, spins, and hand gestures. This taal is normally played on Pakhawaj.  

4. Moving to you 4th performance of the evening is a Thumri -   “Kanha Main Tose Haari”

Music by Pandit Birju Maharaj ji

Choreography – Saswati Sen

Performed by Gurmeet Marhas

"Kanha Main Tose Haari" is a Thumri, a semi-classical form of Indian vocal music. Thumri is known for its expressive and lyrical nature, often centered around themes of love, devotion, and separation, particularly in the context of Krishna and Radha’s divine love.

In this composition:

The lyrics, written by Bindadin Maharaj, follows the traditional Purab Ang Thumri style.

The music, composed by Satyajit Ray, retains the essence of classical Thumri while blending it with cinematic elements.

The song is set in Raag Bhairavi, which is commonly used in Thumri compositions.

It follows the rhythmic cycle Teentaal (16 beats)

5.      Tarana- smaraki 

Music – ISTD

Choreography – Cyenthia Vijayakumar

Performed by Cyenthia’s students Varsha, Prachi, Shivani, Misha and Serah 

This is a Teentaal Tarana performed by the students of Aarambh Dance School.

Here is a little story about how Tarana came into existence.

The musicians created music that had no semblance to any specific Hindu or Islamic religious traditions. This led to the creation of the Tarana. In these compositions, syllables such as "tanadherena," "odani," "todani," "tadeem," and "yalali" were used, which had no meaning but were employed to create melodies. This is how the Tarana genre came into existence.

6.      Ghazal - Ek Bas tu hi nahin - Swatika 

What is a ghazal - It is a form of poem or ode that often deals with topics of spiritual and romantic love.

A timeless gem sung by the legendary Mehdi Hasan Sahab

This soul-stirring ghazal captures the essence of longing and heartbreak, beautifully expressed through its evocative lyrics and Mehdi Hasan’s unparalleled rendition.

Written by the esteemed poet Farhat Shahzad, this ghazal is composed in the classical Raag Miyan Ki Malhar, known for its deep, velvety voice and impeccable mastery over ghazal singing.

 Mehdi Hasan transformed poetry into an experience, making each verse resonate with raw emotion and depth.

It's just not you who have got annoyed with me

Even the stone which I carved has become God.

The best thing would be for the destination to come to me

For my earnest desire to reach destination has got me blisters on the feet

I learnt to do without my strength of conversation out of expediency

But my keeping quiet has also become a way of conversation.

My assassin has my thanks for he is just like a prophet to me

The poison he gave me has turned out to be medicine for me.

On receiving half-hearted response of his performance

The poet experienced excruciating pain which resulted in his

disconnecting the soul from his body(a mystic experience)

Music – Mehdi Hassan

Choreography – Kiran Chauhan

Performed by Gurmeet Marhas and Cyenthia Vijayakumar

So, sit back, immerse yourself in the magic of this ghazal, and let Mehdi Hasan’s voice take you on a journey of love and longing."

7.      Ektaal Tarana - Swatika 

Music – Pandit Birju Maharaj

Choreography – Cyenthia Vijayakumar

Performed by Cyenthia Vijayakumar

The last performance of this evening is another Tarana. This Tarana is set in Ektaal, which is a 12-beat rhythmic cycle in Raag Kalavathi and is composed by Pandit Birju Maharaj.