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The theme of “Remembrance” was chosen for the 2024 production of Ghungroo, the largest student-run production on Harvard’s campus. Formed by undergraduates at the college 36 years ago, Ghungroo aims to connect its performers and audience members with the artistic and cultural traditions of South Asia. The term ‘ghungroo’ refers to the small brass bells that are strung together to form the anklets worn by classical Indian dancers, which accentuate the rhythms of complex footwork. Ghungroos are a crucial aspect of traditional Indian dance forms like Bharatanatyam and Kathak, as they symbolize the deep connection between the dancer and their craft as well as the spiritual nature of these classical forms. Through a blend of poetry, dance, music, comedy, and set design, Harvard’s Ghungroo honors South Asian culture while creating a welcoming community for its members.

As the crowd began to file into the Agassiz Theatre on the opening night of the show, Karan A. Shah ’27 and Lavik Jain ’27 shared their excitement for the performance.

“The show overall has a ton of different styles, from classical to pop to modern and everything in between,” Jain said.

Every movement, from the swirling elegance of the Kathak dance during the dreamlike song “Deewani Mastani,” to the powerful rhythmic footwork of the ruby and emerald clad Bharatanatyam dancers, expresses a deep devotion to the art of dance. The dancers of the Bhangra routine, carrying on the harvest celebration tradition of Punjabi farmers, paired their spirited movements and sapp instrumentals with energetic smiles that drew the loudest applause.

However, as E. Elson Bankoff ’27 noted after the first act, Ghungroo “It has so much variety — it’s really special.”

The modern elements of the show, from the entrancing diaspora fusion version of “O Saki Saki,” to the hilarious comedy sketches featuring characters like Dean Khurana and Kamala Harris, reflected how the students in Ghungroo have found a space for creativity and expression.

“We are surrounded by such diverse and talented people,” said audience member Angela Zhang ’27. “Being able to see that and experience that has been amazing.”

The crux of Ghungroo lies in its delicate balance between tradition and innovation, warm nostalgia and the complexity of new environments. It is the role of the dancers, actors, musicians, and poets to communicate these various and conflicting elements, a task certainly well-executed in this year’s performance.

Aidin R. Kamali ’25, a participant in the Himalayan Dance, said, “I feel like I could use some more of [Ghungroo], everyone could use a bit more of it.”

The semiclassical style that blends the discipline of classical forms and the energy of folk dances reflected this passion for fusion, making new art available to all social classes. A video projected onto the stage claimed that change is not opposed to tradition; rather, it supports it.

The ensuing performance of “Aaja Nachle” felt both old and new, combining the strength and precision of classical forms with the energetic fluidity of Bollywood. The juxtaposition of various styles of dance was paralleled by various spoken word performances: Urdu, Malayalam, Hindi, Bangla, and English were used to express the theme of remembrance through historical traumas, devotional figures, the beauty and mystery of celestial bodies, and leisurely conversations with family over good food.

The emphasis on community, tradition, and change is a crucial element of all the different types of performance within Ghungroo, reflecting the diaspora experience while honoring its South Asian roots.

Karan A. Shah ’27 said, “This has been a lot of fun — one of the most memorable things I’ve done in his first year at Harvard.”