NEW DELHI: The timeless stories of India’s epics are finding renewed resonance on the modern stage at KalaYatra 2026, a festival of new choreographic works curated and led by eminent classical artist Sonal Mansingh. Hosted at Delhi’s Kamani Auditorium, the festival began on January 13 and continues to offer audiences a rich encounter with movement, theatre and myth, with further performances scheduled for January 28 and 29, 2026.
Jointly organised by the Delhi Government’s Department of Art, Culture and Languages and the Centre for Indian Classical Dances (Shri Kamakhya Kalapeeth), KalaYatra has long been known for encouraging innovative interpretations within classical frameworks. This year’s edition remains faithful to that vision, presenting productions that revisit familiar epic narratives while questioning, expanding and humanising them.
The evening of January 28 will open with Duryodhana, a choreographic work that re-examines one of the Mahabharata’s most debated figures. Often reduced to the role of a villain driven by jealousy and power, Duryodhana is here approached with empathy and psychological depth. Set in the Odissi idiom, the production traces his journey from privilege and pride to isolation and downfall, while also acknowledging his generosity and unwavering loyalty—qualities frequently overshadowed in conventional retellings.
The work draws attention to the lesser-discussed moment of Duryodhana’s final reckoning, when he is believed to have regretted disregarding the counsel of elders and choosing war over reconciliation with the Pandavas. By focusing on this inner conflict, the production invites audiences to reflect on moral ambiguity rather than moral binaries.
Presented by Srjan – Guru Kelucharan Mohapatra Odissi Nrityabasa from Bhubaneswar, the dance-drama features a script by Pt Nityananda Misra, music by Rupak Kumar Parida arranged by Tarakanta Panda, and choreography and rhythmic design by Ratikant Mohapatra. Fifteen performers bring the narrative to life, blending expressive abhinaya with sculptural movement.
The same evening will also feature Chakravyuh, an evocative portrayal of Abhimanyu’s heroic yet tragic stand in the Kurukshetra war. The work centres on the young warrior’s fearless entry into the near-impenetrable military formation and his ultimate sacrifice. Choreographed by Shashidharan Nair, the production draws from the martial vocabularies of Mayurbhanj Chhau and Kalarippayattu, combining athletic movement with theatrical intensity. The result is a visually arresting and emotionally charged tribute to courage, duty and youthful resolve.
On January 29, the festival turns to Saugandhikaharnam, inspired by the episode in which Bhima embarks on a perilous quest to obtain the rare Saugandhika flower for Draupadi. Triggered by a fleeting fragrance carried by the wind, the journey becomes a metaphor for devotion, endurance and the trials of love. Presented in the Marga Natya tradition, the work is choreographed by Piyal Bhattacharya and performed by Chidakash Kalalay of Kolkata. Music by Durba Singha Roychowdhury supports the narrative, with a 15-member ensemble translating myth into structured, lyrical movement.
The evening concludes with Matrika, a mythological production that celebrates the collective power of the divine feminine. Drawing on the legend of Mahishasura’s defeat, the work foregrounds the energies of the nine Matrikas, emphasising unity, balance and shared strength over singular dominance. Presented by the Rainbow Dance Troupe—an all-LGBTQ professional ensemble from West Bengal—the production is conceptualised and choreographed by Ratri Das and features 13 performers. Matrika stands out not only for its spiritual symbolism but also for its inclusive artistic voice.
Beyond the stage, KalaYatra 2026 also hosts a pictorial exhibition chronicling Sonal Mansingh’s artistic journey and intellectual contributions. The display highlights her role not only as a performer of international repute but also as a teacher, thinker and mentor who has shaped generations of dancers while taking Indian classical traditions to global platforms.
Earlier performances between January 13 and 15 showcased a wide spectrum of works rooted in sacred texts as well as contemporary concerns such as environmental awareness and sustainability. The opening evening featured Amrut Manthan, choreographed and directed by Sonal Mansingh with music by N. Ravikiran, followed by Athijeevanam, a Kathakali presentation directed by Padma Shri Guru Sadanam Balakrishnan.
Subsequent evenings included productions such as Naddaswaruppam Devim Namaami, Girija Kalyana, Sita Bibaha Bihar by Trikalaa Gurukulam, and Karna – Bound by Fate by the Sri Idagunji Mahaganapati Yakshagana Mandali, each adding to the festival’s layered engagement with myth, morality and movement.
On the sidelines of the dance and drama presentations at the Festival of New Choreographies – KalaYatra 2026, a pictorial exhibition has been mounted, giving visitors a rare window into the artistic legacy, intellectual range and lasting impact of a cultural visionary who has been instrumental in carrying Indian classical dance and cultural thought to global audiences. She has played equally vital role as a guru, educator and mentor, whose guidance has shaped and inspired generations of dancers and creative practitioners across the country.
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