In Anuranan, conceptualized by Rajdeep Banerjee and Sayani Chakraborty, and staged recently in Calcutta, Kathak and Bharatnatyam were represented richly. The two diverse expressions come with their individual histories, cultures and aesthetics, rooted as they are in the artists' learnings from their gurus as well as individual passion and artistic sensitivities. In fact, what came under the spotlight that evening was the way the artists had merged elements from the different schools of training in an effort to create their identities.

Young and fresh, Sayani Chakraborty (picture, above) was in fine form during the show at Uttam Mancha. Her spatial exploration and energetic idiom were impactful. She created geometries by defining shapes, executing flawless leaps with vigour and poise and by slicing angles and curves with precise movements of the arms and legs. Traversing gracefully between pure dance and emotive expression, Chakraborty presented an abhinaya piece on the eternal theme of Radha and Krishna. Her repertoire also included a bhajan composed by Purandara Das and, in a deviation from the usual route of the tillana in Bharatnatyam, a tarana.

Her performance afforded a fine vision of Bharatnatyam as she had learnt it from Rajdeep Banerjee before moving on to Rama Vaidyanathan's highly evolved and expansive exploration of the possibilities offered by the form. Clearly, Chakraborty has imbibed much of the vibrancy of Vaidyanathan's vocabulary and her distinctive technique. It is now left to the young dancer to fashion her own identity from this rich legacy. It is fulfilling to note that she is on the right path.

A different geometry unfolded during the latter part of the evening with Asimbandhu Bhattacharjee (picture, top) and Ranjini Bhattacharjee partnering in an exposition of Kathak in solos and duos. In the traditional mode of a Kathak performance, the dancers kept up a steady flow of verbal communication with the audience, recited the compositions and tihais before performing them, explored the intricacies and the mathematics of complex rhythmic patterns and displayed the spectacular stylistic features that are characteristic of this form.

Asimbandhu's unique inheritance is his strong foundation in two distinctive gharanas of Kathak - Jaipur and Lucknow. The powerful footwork and complex compositions of the former and the innate elegance of the latter come together in his expression. As always, the performance on the occasion demonstrated the interplay of the two styles as an organic whole.

What gave the evening its name and its purpose was the final presentation of the evening, a jugalbandi performed by Asimbandhu, Rajdeep, Sayani and Ranjini. More than pointing at the inevitable contrasts between the two forms, the encounter flowed freely even while the artists remained within the confines of their own lexicons.