The significance of Lord Krishna extends beyond Indian mythology. People admire, worship, and love Krishna not only as a deity but also as a figure who feels connected to their lives. And Shriram Bharatiya Kala Kendra (SBKK) is no exception. Like every year, this year also, it has been celebrating its flagship dance drama Krishna, from August 12-16.
As the programme is in its 49th year, TMS speaks with Shobha Deepak Singh, the director of SBKK. “The Krishna dance-drama has been an integral part of Shriram Bharatiya Kala Kendra’s annual calendar for nearly five decades. Its 49th edition carries the weight of that heritage while embracing the freshness of renewed creative expression,” says Singh.
Although SBKK performs the programme every year, this year’s production is special because it reimagines a beloved classic with refined choreography, intricate costume detailing, and enhanced stagecraft. "It combines the depth of live music, the visual richness of lighting design, and the disciplined artistry of our repertory dancers. For long-time audiences, it offers the comfort of tradition; for first-time viewers, it presents an immersive introduction to the timeless story of Lord Krishna,” notes Singh.
The phases of Krishna
This edition of Krishna focuses on multiple phases of Lord Krishna’s life. It highlights his childhood in Gokul, the pastoral beauty of Vrindavan, his eternal bond with Radha, and the epic events of the Mahabharata.
“The life of Krishna is a sequence of events woven with playfulness, love, wisdom, and the triumph of dharma over adharma. By selecting episodes that span both the personal and the cosmic—from the innocence of his early years to the moral gravitas of the Kurukshetra battlefield—we offer audiences a holistic portrait of his journey. The intention is to allow viewers to travel with him through changing landscapes of emotion and purpose,” says Singh.
The choreography
Other than storytelling through the diversity of events in Krishna’s life, what also makes the dance drama special is the choreography. This year’s production is choreographed by Shashidharan Nair, a known face in India’s dance-theatre circle.
Trained in multiple dance genres like Kathakali, Mayurbhanj Chhau, and Kalaripayattu, he has put his experience and skills into making this production a grand success.
“What makes his association with the Kendra exceptional is the legacy he carries forward. Having performed, taught, and choreographed here for generations of dancers, he bridges tradition and innovation with equal ease. Many of our principal artists today are his protégés, shaped by his discipline and commitment to authenticity. In Krishna, his skills transform episodes—from the pastoral simplicity of Gokul to the moral urgency of Kurukshetra—into vivid representations that remain etched in the audience’s memory,” Singh concludes.
Krishna is ongoing till August 16 at Kamani Auditorium, Mandi House