Delhi: A kaleidoscope of rhythm, grace, and resilience lit up the stage of India International Centre (IIC), on Max Mueller Marg, Delhi, on June 1, as the Association for Learning Performing Arts and Normative Action (ALPANA) rolled out its 22nd Annual Day celebration—Indradhanush 2025.
Aptly named after the rainbow, the event was a spectacular showcase of India’s rich classical arts and the indomitable spirit of its young performers, including Divyang (differently-abled) artistes.
From the word go, the event struck the right chord. The auditorium resonated with the lilting notes of ‘Chhota Khayaal’ in Raag Bahar and the soulful strains of ‘Thumri and Tarana’ in Raag Bhairavi.
A delightful twist came with the rendition of the classic Hindi melody “Jaa Re Hat Natkhat…” performed by budding vocalists including Satwiki Dhungana, Aditi Dhyani, Aparna Chakraborty, Swati Singh Dhankar, Kenisha Kalra, Riya Nautiyal, Kirti Saxena, Pallavi Shrivastava and Pooja Thapar, leaving the audience spellbound.
In a heartwarming segment, ALPANA’s Divyang students, Mayuk Dinda, Kushagra Bhardwaj, Tanisha Garg, Abhishek Rana, Kirti Saxena and Rajesh Kumar Gupta, showcased their musical talents on the keyboard, belting out evergreen Bollywood numbers like “Ajeeb Daasta Hain Ye…” and “Oh Mere Dil Ke Chain…”. With Mrs. Archana Chaudhary strumming the guitar, the performers transported the audience on a nostalgic journey down melody lane.
The tempo only picked up with a riveting Tabla presentation, followed by a pulsating display on the Congo and African drum. The percussion section, guided by Tabla teacher Subhash Chandra Behera and music mentor Saswati Chatterjee, was a show-stealer—setting feet tapping and hearts racing.
As the evening progressed, it was time for the Divyang dancers to take center stage. With grit and gusto, they performed Yoga on the Oscar-winning number “Jai Ho…”, danced to the peppy “Naachoon Main Aaj Chham Chham Chham…”, and wrapped it up with an infectious Bhangra on “Sauda Khara Khara…”. Their passion and perseverance drew roaring applause, inspiring admiration across the board.
Adding classical depth to the programme was a bouquet of Odissi dance performances, beginning with Mangalacharana, where young dancers paid homage to their Guru through the sacred shloka “Gurur Brahma Gurur Vishnu…”. The precision, poise, and elegance of the dancers spoke volumes of their rigorous training.
The audience and art connoisseurs were seen remained glued to their seats.
The mood deepened with Kalyan Pallavi, a lyrical exploration of Raga Kalyan set to Mishra Tala, followed by the Basanta Pallavi, a celebration of spring in all its youthful exuberance. The dancers, through graceful movements and expressive mudras, painted a poetic portrait of the season.
One of the evening’s high points was the powerful ‘Shiva Tandava’, based on the ‘Shiva Tandava Stotram’ written by Ravana, the king of Lanka, in which the ‘Udhata or Rudra’ manifestation of Lord Shiva was depicted. Choreographed by Guru Smt. Alpana Nayak and music composed by Guru Prashanta Behera, the dance brought to life the fierce cosmic dance of Lord Shiva, evoking awe and reverence in equal measure.
The grand finale—‘Bhaja Mana Ram Charana Sukha Dayi…’—a devotional Odissi piece based on the poetry of Tulsidas, had the audience rapt.
In this prayer the poet says ‘Hey maan (Mind)! worship those pleasure giving feet of Lord Rama from where emanated the pious river Ganga; the footwear of those feet whom Prince Bharata worshiped for fourteen years; the same feet that the boat man Guha washed and then only allowed Lord Rama to ride his boat; those feet are worshipped by the saintly beings for the divine bliss and it is the same feet by the mere touch of which Goutam Rishi’s wife Ahalya attend supreme abode. Shiva, Shankadi Kumaras, Brahma and Shesha Naag with his thousand mouths have all sung the glories of Lord Rama’s feet.’
The performance concluded with the spiritual essence of Moksha, leaving everyone in a state of tranquil delight. This mesmerising performance was presented by senior disciples of the host institution, Amrti Setia, Disha Kannan, Sabita Sahoo, Agamya Jain, Lavisha Gulati, Nerissa Rout, Nimisha and Shreysha Singh. The accompanying musicians of the evening were Guru Prasanta Behera on Vocal support, Guru Prafulla Mangaraj on the Mardala, Azhar Shakil on the Violin and Nikhil Kumar Behera on the Flute.
The chief guest, Ms. Amita Prasad Sarbhai, Additional Secretary, Ministry of Culture, lauded the inclusivity and excellence of ALPANA’s efforts. She was in all praise for the excellent performances delivered by the ALPANA students. She also hailed ALPANA for scripting a new narrative in mainstreaming Divyang artistes through art. Joint Secretary, Ministry of External Affairs, Ms. Pratibha Parkar, echoed similar sentiments, appreciating ALPANA’s contribution to cultural diplomacy through Odissi.
Former PCCF, Government of Assam, Dr. Ranjana Johri also applauded the students’ achievements.
The distinguished guests felicitated the participants.
The vote of thanks was delivered by former IPS officer and ALPANA mentor B.C. Nayak, capping off the evening on a note of gratitude and promise.
Founded in 2004, ALPANA has spent over two decades nurturing talent and promoting India’s cultural heritage, particularly Odissi dance, vocal music, and traditional instruments. With more than 100 students—including 35 Divyang artistes—the organisation is a shining example of how art can be a bridge, a healer, and a platform for all.
Indradhanush 2025 wasn’t just another cultural programme—it was a feast for the senses, a tribute to resilience, and a celebration of diversity. In every beat of the drum, every note of the raga, and every graceful movement on stage, ALPANA once again proved its mettle—nurturing young talent and adding vibrant hues to India’s ever-evolving cultural canvas.
