By Vivek Shukla
New Delhi, Jan 19 (UNI) On a crisp January evening in Delhi, as winter settled gently over the capital, a familiar divine love story unfolded far from its traditional geography. At Baansera Park—an urban island of bamboo and open skies—Malaysian artists brought alive Radha–Krishna Leela, transforming the heart of the city into a space of devotion, beauty and cultural communion.
The performance, presented by Malaysia’s acclaimed Sutra Foundation, was the centrepiece of the second day of the 11th India International Dance & Music Festival (January 16–18), organised by the Indian Council for Cultural Relations (ICCR).
Hundreds gathered—families, neighbourhood residents, diplomats, tourists and seasoned art lovers—drawn by word of mouth and the promise of something quietly extraordinary.
As dusk deepened, the stage glowed. Under the direction of Datuk Ramli Ibrahim—Malaysia’s foremost Odissi exponent and a Padma Shri awardee—the production traced the divine romance of Radha and Krishna through the shringara bhakti rasa, where sensuality and devotion merge seamlessly.
The dancers’ bodies curved into the lyrical tribhanga, feet traced complex rhythmic patterns, and faces spoke in the eloquent language of abhinaya.
Rooted in Odisha’s temple traditions yet shaped by contemporary dance-theatre sensibilities, the performance felt both ancient and alive.
Live music—anchored by the resonant pakhawaj and the plaintive flute—flowed through the open-air venue, creating an intimate soundscape that seemed to dissolve the boundary between stage and audience.
Lighting designer Sivarajah Natarajan bathed the performance in ethereal blues and warm golds, evoking the forests and moonlit nights of Vrindavan.
The portrayal of Radha’s yearning in separation (viraha), followed by moments of ecstatic union, drew audible sighs and visible stillness from the crowd.
Many spectators described goosebumps, some closed their eyes in quiet absorption, others admitted later that they were unfamiliar with the mythology—but deeply moved nonetheless.
There was, too, a larger story unfolding beyond the choreography. Artists from predominantly Islamic Malaysia performing a sacred Hindu narrative in India became a powerful, unspoken statement on cultural coexistence.
The moment captured the essence of ICCR’s cultural diplomacy: art as a bridge, not a boundary.
The festival itself brought together over 140 artists from eight countries, including Kazakhstan, Burkina Faso, Kyrgyzstan, Maldives, Lithuania and Uzbekistan.
Yet Radha–Krishna Leela stood out—not just for its technical finesse, but for what it symbolised.
Datuk Ramli Ibrahim’s presence loomed large. For decades, his work has carried Odissi beyond its temple origins, nurturing it on international stages and reviving ancient links between Odisha—once Kalinga—and Southeast Asia.
His artistic journey mirrors older civilisational exchanges, when ideas, faiths and aesthetics travelled freely across oceans.
Baansera Park, rejuvenated and green, amplified the spirit of the evening. Families picnicked on the grass, strangers exchanged smiles and applause, and social media buzzed with praise for what many called a “proud moment” of unity and shared heritage.
Cultural experts point out that such festivals do more than entertain. They preserve endangered classical traditions, energise local economies, promote inclusivity, and offer emotional respite in an increasingly hurried world. As one of ICCR’s flagship initiatives, the India International Dance & Music Festival reinforces India’s soft power—and the belief that art can succeed where politics often falters.
As the final notes faded into the Delhi night, Radha–Krishna Leela lingered in memory as more than a performance. It was a reminder that devotion, beauty and human connection remain timeless—and that when cultures meet in grace, the result can be quietly transformative.
