Maulik Shah and Ishira Parikh provided a pleasing shock by dancing collectively on two totally different taals.
| Photograph Credit score: Particular Association
Kathak Kendra holds a major place on the earth of dance. This Delhi-based nationwide academy of Kathak, a constituent unit of the Sangeet Natak Akademi, has been imparting coaching in Kathak and selling the dance kind.
Its annual Kathak Mahotsav, as soon as a sought-after occasion that featured eminent artistes and informative seminars, was revived this yr after nearly a decade.
The thirty sixth version was held beneath the steering of veteran Uma Dogra, chairperson of the advisory committee, and Pranaami Bhagawati, director, Kathak Kendra, with the patronage of the Sangeet Natak Akademi.
Kamalini and Uma Dogra on the seminar organised as a part of the Kathak Mahotsav in Delhi.
| Photograph Credit score:
Rahul Naag
The well-conceived competition was devoted to famed gurus resembling Pt. Birju Maharaj, Munna Shukla, Kundan Lal Gangani, Pt. Durga Lal, Tirath Ram Azad and Jitendra Maharaj of Lucknow, Jaipur, and Banaras gharanas. Via talks, exhibitions and solo and group choreographies, the competition additionally centered on how the dance kind has advanced over time.
Prime disciples of legendary gurus shared their experiences. Saswati Sen spoke on Pt. Birju Maharaj, Sushmita Ghosh on Munna Shukla, Prerana Shrimali on Kundan Lal Gangani, Mangala Bhatt on Pt. Durga Lal, Nalini-Kamalini on Jitendra Maharaj and Ravi Sharma on Tirath Ram Azad by Ravi Sharma.
Saswati Sen talking on Pt. Birju Maharaj on the seminar.
| Photograph Credit score:
Particular Association
Kumkum Dhar from Lucknow introduced a well-researched paper on ‘Anga-Saundarya’, the great thing about physique actions (particularly in Lucknow gharana) on the primary day. Prerana Shrimali, Urmila Nagar and Geetanjali Lal mentioned compositions of Jaipur gharana on the second day whereas ‘Kathak mein navinikaran’ (innovation in Kathak) had PowerPoint presentation by Madhu Natraj from Bengaluru. Maulik Shah & Ishira Parikh from Ahmedabad confirmed video clips of their revolutionary works on the ultimate day.
Whereas pictures that took guests by the historical past of the dance kind have been on show at Vivekananda Sabhagar (Kathak Kendra), costumes, ghungroos and devices of legendary performers have been showcased on the Kamani Auditorium.
Sangeeta Chatterjee performing on the Kathak Mahotsav in Delhi.
| Photograph Credit score:
Rahul Naag
Mornings have been reserved for thought-provoking discussions and evenings have been meant for performances. Sangeeta Chatterjee, who opened her recital with an ode to Ganesha, felt it was an amazing alternative to be a part of a competition with a hoary previous and to share the stage with established dancers. She introduced the difficult ‘Pancham Sawari’ taal of 15 beats time cycle with superb dexterity. She selected the well-known Bhairavi thumri by Wajid Ali Shah, ‘Babul mora naihar chhuto ri jaye’, which he composed whereas leaving Lucknow, for her abhinaya section, and handled it in two contrasting imageries of the worldly and the non secular.
Monisa Nayak opened her solo efficiency with a dhrupad invoking Ganesha, composed by Pt. Vinay Chandra Maudgalya in raag Bhimpalasi and adopted it with the 14-beat cycle of Dhamar taal for nritta with elan. One solely wished that as a substitute of Bhairavi she had taken one other raga for Lehra, the musical chorus, as a result of she was not the final dancer. Abhimanyu Lal opened with the invocatory dhrupad ‘Mahadeva Shankar’ set to Chautaal after which shifted to the medium tempo of Teentala together with his common assertive self.
Veteran dancer Shovana Narayan wanting on the pictures on show.
| Photograph Credit score:
Particular Association
Maulik Shah and Ishira Parikh provided a pleasing shock by dancing concurrently on two totally different taals. Whereas Ishira danced to Jhaptaal (10 beats) performed on the tabla, Maulik danced to the Rudra taal of 11 matras performed on the pakhawaj. This lent a brand new dimension to their jugalbandi.
Hari and Chetna from Bengaluru opened their efficiency with ‘Purva-ranga’, consecrating the stage, and invoking the ‘Ashta-disha’ adopted by ‘Kasturi tilakam’, earlier than presenting Teentaal. The Swathi Tirunal composition ‘Chaliye kunjan mo’ for his or her abhinaya section concluded with a Shivanjali.
College students of Abhinava Dance Firm performing on the Kathak Mahotsav.
| Photograph Credit score:
Rahul Naag
The competition drew to an in depth with the group choreographies of Nirupama-Rajendra and dancers of their Abhinava Dance Firm. Opening with Shivastuti, composed by Ustad Faiyaz Khan of Agra gharana in raag Hindol set to taal Dhamar, they introduced the abhinaya section on ‘Ayi Murali’ based mostly on Krishna Karnamritam in raag Bihag.
Dance lovers, who had witnessed the grandeur of Kathak Mahotsav showcasing performances by stalwarts, had excessive hopes about its revival. Although well-conceived, the shows weren’t backed by sufficient well-researched content material and didn’t function severe deliberations on totally different features of Kathak. The competition wants extra pondering and higher planning, important for the dance kind’s progress and its means to soak up adjustments.
