Gitanjali commenced with an invocation, Vishnu Vandana, composed and choreographed by herself. She went on to a pure dance number in teen taal. Reciting the mnemonic cymbals or the bols first, the dancer demonstrated the juggling around that is possible within the given framework of the taal. The coordination between the tabla player and the dancer was excellent. Gitanjali performed a tumri, 'Baiti soche Brijbhaan'. This was the only abhinaya piece of the evening. A girl from Brij, lonely because Krishna is away at Mathura, thinks about the happy times spent with him. Rhythm in Kathak is so inbuilt, it is not forgotten even during bhav. The song was in raag Maru Behag. Imran Khan's singing was enjoyable, though not very audible some of the time. Govind Chakravarthy, on the tabla was the star of the orchestra, but he tended to drown out his team mates. Vijay Sharma on the sitar and, Mohammed Zaffar Khan on the sarangi, provided good melodic support.

Kishen Mohan Maharaj then took stage. His footwork, his control and his pace took everyone's breathe away. His vigorous footwork even without lifting his heel was amazing. The ankle bells were always so clear irrespective of the movement of the feet. In teen taal, he presented interludes between the percussionist and himself, alternating the lead. He explained the mathematical combinations of taal and demonstrated the horse- drawn chariot, and the snake-like footwork. The 'Na dhin dhin na' sequence performed to a very exacting pace made for exciting viewing. He concluded with a request to the audience to clap to a beat of four. He kept improvising on the beat with different combinations through his footwork. A most exhilarating show of rhythm in kathak.

The last item was a tarana in teen taal. An item comparable to the thillana of Bharatanatyam. Disciples of both dancers performed together, the lines of differentiation nowadays between the two styles getting blurred. A composition of Gitanjali, it was in raag Marwa. A different tabla player, Yogesh Gangani played for this item. Starting with cycles of 10 beats- jhap taal, the item then continued to the 16-beat teen taal to the Marwa composition. The young girls themselves masters of rhythm, reflected the virtuosity of their teachers.