Highlights
- Classical dance and devotional music marked a spiritually rich Shivaratri celebration in London
- Production conceptualised by Ragasudha Vinjamuri of the Sanskruti Centre for Cultural Excellence
- Verses from the Kakatiya Kingdom presented through multiple dance traditions
- Kathak performance by Kajal Sharma among the evening’s standout moments
A devotional tribute rooted in literary heritage
London marked Maha Shivaratri with an immersive cultural evening as Rudra Varenyam unfolded at Bharatiya Vidya Bhavan on 20 February. Conceived as an artistic homage to Lord Shiva, the production explored themes of stillness, cosmic balance and transformation through classical performance traditions.
Drawing on historic devotional literature, the programme featured verses associated with the Kakatiya period, including works of Palkuriki Somanatha, presented internationally through Bharatanatyam, Kuchipudi and Kathak.
The transitions between styles created a layered portrayal of India’s intangible cultural heritageMahesh Liloriya
Interweaving classical forms and sacred compositions
The repertoire also incorporated compositions attributed to Adi Shankaracharya, Chakrapani Ranganatha and Patanjali, interpreted through Odissi, Mohiniattam, Kuchipudi and Bharatanatyam. The transitions between styles created a layered portrayal of India’s intangible cultural heritage.
Original arrangements of Shiva stotras deepened the contemplative tone, while choreography evoked Shiva as Nataraja — symbolising creation, preservation and dissolution.
The evening was anchored by Ritesh S. NigamMahesh Liloriya
Kathak highlight and community participation
A notable moment came with a Kathak recital by Kajal Sharma, a senior disciple from the lineage of Birju Maharaj. Her interpretation of Somanatha’s poetry drew strong audience appreciation and added depth to the presentation.
The evening was anchored by Ritesh S. Nigam and brought together performers’ families, volunteers, sponsors and community members, reflecting a collaborative cultural effort.
Choreography evoked Shiva as Nataraja — symbolising creation, preservation and dissolutionMahesh Liloriya
Continued support for Indian arts in Britain
Organisers extended thanks to M. N. Nandakumara and the Bhavan team for their ongoing role in promoting Indian arts in the UK, reinforcing the institution’s position as a key cultural platform for diaspora audiences.
Agatha Christie boarding the EET Salon at lunchtime on the train from Bulawayo to the Cape. In 1922 Agatha Christie set sail on a 10-month voyage around the world. Her husband Archie had been invited to join a trade mission to promote the British Empire Exhibition and Agatha was determined to go with him The Christie Archive Trust
Agatha Christie under a tree on Honolulu beach after surfing, 1922. Agatha and her husband Archie were permitted to take a short holiday away from the 1922 trade mission and chose Honolulu where they learnt how to surf on longboards. Here Agatha purchased a surf suit in the local style, better suited to the demands of surfing than her swim attire for bathing in Torquay. The Christie Archive Trust
Agatha Christie relaxing during a sightseeing tour, Tajoura, Libya, 1955. Agatha and her second husband, archaeologist Max Mallowan had invited Agatha's daughter Rosalind and grandson Mathew to join them on a tour of the ancient sites of Leptis Magna and Sabratah during December 1955. The Christie Archive Trust
Kenneth Branagh as Hercule Poirot in Murder on the Orient Express, 201720th Century Studios
Still from Murder on the Orient Express, 201720th Century Studios
Still from And Then There Were None, 2015, BBC Agatha Christie Limited
Still from And Then There Were None, 2015, BBCAgatha Christie Limited
Still from And Then There Were None, 2015, BBCAgatha Christie Limited
Agatha Christie’s Remington typewriter from 1937 The Christie Archive Trust
Agatha Christie’s Remington typewriter from 1937The Christie Archive Trust
Agatha Christie’s study notes for her pharmaceutical exam taken in 1917The Christie Archive Trust
Letter from Agatha Christie to her second husband Max Mallowan, in December 1930. Agatha writes to Max describing her return home from their honeymoon, on the Orient Express. Documenting how the train had been halted by floods and her fellow travellers' reactions, this event would inspire her to write Murder on the Orient Express a few years later.The Christie Archive Trust
Cover of typescript ofHouse of Beauty, Agatha Christie’s first short story written when she was just a teenager.The Christie Archive Trust
Box for Tabloid Veronal tablets,1910-1940 Science Museum Group
Chemical storage bottle and glass stopper, labelled ‘POISON phosphorus P’,1907-1912Science Museum Group
Empty poison bottle for aconite, iodine and chloretone solution,1925-1960Science Museum Group
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