In the celestial ambience of the Domakonda Fort, the audience was a witness to the Kathak dancer Sanjukta Sinha’s “Angika”. As the saying goes, “Katha Kahe so Kathak”, Angika is a manifestation of the tukra, a celestial pirouette of the seasons of the heart — hope, anguish, joy and longing. The dancer and her troop took the spectators through four dance sequences – Aamad, Ghazal, Shiv Tandav and Tarana. Aamad, translating to “entry” in Persian, is the introduction of spoken rhythmic pattern into a Kathak performance. It is the guide and trendsetter. Ghazal is named after the ancient form of poetic expression and talks about the pain of separation and the beauty of love in spite of that pain. Shiv Tandav is an ode to Shiva’s power and divine dance set to the pulsating rhythm of Shiv Tandava Stotram. Tarana exemplifies the choreographic finesse characteristic of the Lucknow Gharana of Kathak. Technically challenging, it demands swift movements, complex intricate footwork and rapid turns. The different ragas to which the nimble footed dancers danced, were a sheer bliss and drew applause from one and all. It was a divine blend of dance and spirituality, cutting across all borders.
This Lord Shiva’s stone temple in Domakonda Fort stands testimony to the Kakatiya rule in Southern India and is believed to be constructed by Ramappa, a great sculptor in the times of Kakatiya Kingdom over 800 years ago.
You will not find a flag mast in front of the temple unlike other temples. An explanation is that the temple doesn’t have a gopuram (temple tower). It stands on an elevated platform with a beautifully carved Nandi on the outside the temple. It has eighteen stone carved pillars. There is not so much information about the temple except for its archaeological importance.
Until a few years back the temple was in a dilapidated condition. Very recently the stone temple was completely disassembled and rearranged to bring it into today’s firm standing.