New Delhi: The Stein Auditorium at the India Habitat Centre, here, came alive on the evening of October 28 as eminent Odissi exponent Guru Ranjana Gauhar presented her disciple Vinod Kevin Bachan in a solo recital titled ‘Ananta Katha – Some Tales Never End” on 28th October.
As the sun dipped below the Delhi skyline, art aficionados started occupying their seats and by the time the curtains rose, the auditorium was brimming with anticipation.
Celebrated anchor Sadhana Srivastava opened the evening, offering the audience a glimpse of what was going to happen in the next few hours.
The programme commenced with the customary lighting the lamp ceremony graced by Padma Shri recipients and Kathak exponents Nalini Asthana and Kamalini Asthana, former DG of ICCR Amarenda Kathua, eminent lawyer, actress and Kuchupudi exponent Smt. Rashmi Vaidyalingam, Odissi exponent Smt Jyoti Srivastava, YSNA awardee and Kathak exponent Smt Vidha Lal, Kathak exponent Smt Kavita Thakur and eminent producer, director and renowned compere Smt Sadhana Shrivastav. Padma Shri and SNA awardee Smt Ranjana Gauhar herself shared the dais, adding to the grandeur of the evening.
The Essence of ‘Ananta Katha’
Before taking you on this artistic journey, let me first share why the evening was aptly titled ‘Ananta Katha’. The word “Ananta” means eternal-something without end or boundary, while “Katha” refers to a story or tale. Together, Ananta Katha conjures the sense of timeless stories that have been told and retold across generations, never losing their resonance.
To me, the title perfectly captured the spirit of the evening. The themes drawn from the cosmic dance of Lord Shiva, the fierce compassion of Goddess Durga and steadfast devotion of Sita have travelled through ages, continuing to inspire, uplift, and awaken devotion in all who hear them. Likewise, the Pallavi performed that evening beautifully reflected another kind of katha- the living stories of dance itself, passed down from guru to shishya, generation after generation. This unbroken chain of tradition is what keeps Odissi alive — a legacy that speaks not just through words, but through movement, expression, and spirit. From the legendary Guru Mayadhar Raut to Guru Ranjana Gauhar, and now to Kevin, this sacred lineage continues to flow — proof that in the world of classical dance, some tales truly never end.
Introducing Vinod Kevin Bachan
A recipient of Ustad Bismillah Khan Yuva Puruskar, Vinod Kevin Bachan is a distinguished disciple of Padmashree and Sangeet Natak Akademi Awardee Guru Ranjana Gauhar. He is a lead dancer and a senior faculty member at Utsav, an Odissi dance institution founded by his guru. A seasoned performer, he has been featured in his guru’s major productions such as ‘Matsya Avatar’, ‘Chitrangada – The Warrior Princess’, ‘Khud Mein Kabir – Kabir Mein Hum’, ‘Jhansi ki Rani’, and ‘Om Namah Shivaya’.
He has also conceptualized and performed solo productions such as ‘Bhoomi-Suta’ and ‘Rasa Rang’, along with thematic presentations like ‘Arghyam’, ‘Nayika Ke Manobhaav’, and ‘Bhakti – The Pathway to God’. While he has performed across prestigious platforms in India and countries including Grenada, Barbados, the United Kingdom, Malaysia, Brazil, and more, he has earned honours such as ‘Natya Mayaurm’, ‘Tarana Yuva Puruskar’, ‘Kala Shiromani Award’, ‘Nritya Shiromani Samman’, and ‘Bharata Shastra Nritya Praveena’. An Indian Council for Cultural Relations (ICCR) awardee, he is also an empanelled artiste of ICCR, Doordarshan, and the All India Dancers’ Association.
The Recital: From the Cosmic to the Earthly
Angikam Bhuvanam
Vinod opened his recital with ‘Angikam Bhuvanam’, set to Raga Darbari, Tala Ektaal, Khemta and Jati, conceptualised, scripted & choreographed by Guru Ranjana Gauhar and music composed by Acharya Bamkin Sethi.
With graceful precision and commanding stage presence, brought the choreography to life, depicting how the five syllables of the Panchakshari Mantra ‘Om Namah Shivaya’ represent five elements of existence such Na – Earth, Ma – Water, Shi – Fire, Va – Air, and Ya – Ether.
In this item, his movements were poetry in motion, each gesture perfectly in tune with the spirit of the piece. The finesse and maturity he displayed bore testimony to the rigorous training he has undergone under the watchful eye of his guru, Ranjana Gauhar.
Devi Mahamaya
He followed it up with ‘Devi Mahamaya’, a piece specially conceptualized, scripted and choreographed for him by his guru Ranjana Gauhar and music composed by Acharya Bankin Sethi. The tale of Devi Durga unfolded vividly with Lord Vishnu giving her arms, Shiva her face, Brahma her legs, Yama her hair, the Saumya her breasts, Indra her chest, Bhuvan her hips, and Surya her toes-along with the divine weapons like Shiva’s trident, Vishnu’s discus, Vayu’s bow and arrow.
Through this retelling of her triumph over demon Mahishasura, the performance beautifully reaffirmed that courage, wisdom, and compassion are the very forces that keep the cosmos in balance. In a novel spirited self, he slipped into the characters flawlessly, making it a visual treat for both trained and untrained eyes.
Pallavi
Next came a competence performance of ‘Pallavi’, a pure dance item set to Raga Bajrakanti and Raga Ektali, choreographed by legendary Guru Mayadhar Raut, directed by Guru Ranjana Gauhar and music composed by Rakhal Mohanty.
In this piece, as delicate and intricate as the unfolding of a flower, Vinod was excellent embodying the essence of Pallavi-an exploration of a raga through lyrical body movements, expressive eyes and intricate footwork. His execution reflected a dancer completely at home in his craft — polished, poised, and perfectly in sync with the rhythm.
Bhoomisuta
He brought the evening to a powerful close with dance drama ‘Bhoomisuta’, specially choreographed for him by his Guru Ranjana Gauhar, music direction and composed by Pandit saroj Mohanty and script penned by Suryakanthi Tripathi.
The piece narrated Sita’s return to her Mother, the Earth, while simultaneously highlighting her courage, resilience and unwavering dignity. Far from being a relic of mythology, Sita emerged as a timeless symbol of strength and inner strength-a story bridging past and present, resonating deeply with contemporary audiences.
His intense ability for portraying characters without ever resorting the exaggerated histrionics was evident all throughout the production. It was a visual delight indeed.
The thunderous applause that followed each presentation said it all-the recital had clearly struck a chord with the audience, ticking every box of a truly successful performance.
