For the first time in the history of Indian Classical music, V.Anuradha Singh brings to the stage revolutionary solo Classical Ghunghru (foot bell) Recital focusing solely on footwork (90 minutes, non-stop).She discovered and evolved new kind of classical music. Ghunghru Playing technique involves extensive use of the toe and heel (apply pressure) in various configurations to create a wide variety of different sounds, reflected in the mnemonic syllables (boll ). Anuradha still hold vast amounts of traditional compositional knowledge and expertise. She researched the unique aspects of each gharana through rigorous training By integrating intense cardivovascular and weight-bearing exercises with the rhythmical mathematics of feet, she forms a perfect union between mind, feet and body, with the goal to achieve pure classical instrumental based on the style of famous 5 percussion Gharana.

The earliest percussion instruments were our hands and feet. Ghunghru is one of the oldest and most popular musical instruments in the world. Made of metal, it appears deceptively simple but to be able to play it in the classical manner, requires some twenty years of training and constant practice which is exhibited in the artistry of Anuradha. " The Ghunghru" is unique and complete and yet no one thought of playing it independently as a recital, it was always considered as an appendage to various dance forms. It takes great dexterity, infinite patience, superb control, stamina, physical strength and inexhaustible memory bank to incessantly play Ghunghroo rhythmically for more than an hour. Her feet moving on the stage like wild rain and her ghunghru will make you believe it is raining on a tin roof. Effortlessly she performs complex and speedy rhythmic classical compositions with feet and body continuously moving at one place. Ghunghru recital displays a dazzling virtuosity. With amazing crystalline beauty of tone, clarity of stroke, incredible speed, awesome variety, charm, wit, and a charismatic playfulness. It is an art in itself. She is doing is to enhance the understanding and appreciation of the rich and diverse cultures through the sound of Ghunghru.

V.Anuradha is determined to prove Ghunghru as solo classical Instrumental Recital; it is composed of two elements: melody and rhythm, spiraling around each other. The confluence of different styles and artists created a unique environment for the development of rare compositions drawn from various- backgrounds. In her recital, she amalgamated technique from all five preceding gharanas which are famous for its distinctive compositions. She researched on the ancient uncommon work of classical luminaries as well as famous percussionists, including Ustad Munir Khan Sahib, Ustad Hazi Vilayat Khan, Ustad Maseet Khan, Ustad Jahangir Khan, Ustad Aabid Hussain Khalifa, Ustad Wazid Hussain Khalifa, Ustad Salari (Lucknow, Farrukhabad and Ajrara Gharana ) and Ustad Kadar Baksh Khan Sahib (Punjab Gharana), and Pandit Kante Maharaj, Pandit Bade Ram Sahaya ji, Pandit Sharda Sahaya ji (Banaras Gharana). She excels in almost all the facets of rhythm and delved into pure traditional work in terms of technique, rhythmic understanding, and the ability to extemporize. She evolved a refined, forceful and intense solo Ghunghru concert in pure classical form, which is based on fast speeds and mind thrilling percussive footwork. It is a blending of rhythm and the body, the mind and the muscles and most importantly coming together of the whole body vibrating in rhythm. it takes great dexterity, superb control, stamina and physical strength. Riyaz (practice) is performed with a spirit of devotion; the classical exercise becomes ibadat (prayer). The total control over rhythm and practice contribute to her unimaginable performance. In her style "Power, accomplishment, perfection", exhibits extraordinary powers of the feet, developed through consistent meditation/riyaz. After twenty years of Ghunghru practice, experience and aesthetic musing, in each composition she offers a prayer at the feet of the divine.