Tag: kathak

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Kathak depicts phases of life creation

In collaboration with Azadi ka Amrit Mahotsava, the Bhartiya Sangeet Sadan is all set to present the “Kathak ki Kahani – Kathak Through Ages” on 28rd July 2023, at 7:00 PM onwards in India Islamic Cultural Centre, Lodhi Road by renowned Kathak exponent, Dr. Uma Sharma, and her group…reports Asian Lite News

The Kathak dance from had its birth in the temples of Ayodhya and Vrindavan in the form of Raas Leela and where it was used as pantomime to accompany the recitation of the Kathaks (Katha Vachak), the professional story-tellers who recounted and interpreted tales from Hindu mythology such as Shreemad Bhagvat and Ramayan etc.

It soon involved dance and song as these rhapsodists reached the point of ecstasy in their devotion. Then it became a full fledged hereditary art. It was one of the ancient, great classical forms and was recognized in the Hindu Shastras, the artistic canons for these arts which were still religious.

Kathak was then introduced as a form of entertainment in the courts of the Hindu Rajas or Kings and became a secular art. It is during this period that it began its development as a distinct and individualistic style, In a great period of renaissance in India, the cult of Krishna was at its height. The major part of the interpretive themes centred around Radha Krishna (symbolic of the urge of the soul for the universal of divine soul). And these themes were developed into passages of mimetic dance (or dance drama, as they soon became) retelling incidents in the life of Krishna. Simultaneously, material verses using words in praise of Krishna coupled with rhythmic syllables came to be composed and used in Kathak Thus another dimension was added to this highly composite form.

The Kathak dance depicts ‘Life’. The three phases of creation, preservation and destruction “Brahma-Vishnu-Mahesh” are clearly reflected through this media. It is therefore based on natural movements and is not confined to mudras. Its poses are more lifelike than sculptures and abhinaya subtle and true to life cover a very large canvas. Ending with Vijayi Vishwa Tiranga Pyara, Jhanda Uncha Rahe Hamara by group dancers.

“As a senior dancer, I believe it is crucial for the public to truly understand the essence of Kathak dance. Today, we witness a gradual decline in the number of Kathak artists. It is disheartening to see this beautiful art form losing its prominence. Kathak is not merely a dance; it is a gateway to our rich cultural heritage, a mesmerizing blend of rhythm, grace, and storytelling. Let us embrace and appreciate the magnificence of Kathak, preserving its legacy for generations to come. Together, we can revive its splendor and ensure that this timeless art form continues to enchant and inspire all who witness its magic.”

In collaboration with Azadi ka Amrit Mahotsava, the Bhartiya Sangeet Sadan is all set to present the “Kathak ki Kahani – Kathak Through Ages” on 28rd July 2023, at 7:00 PM onwards in India Islamic Cultural Centre, Lodhi Road by renowned Kathak exponent, Dr. Uma Sharma, and her group.

The program “Kathak Ki Kahani” is a dance performance where students from Dance Bhartiya Sangeet Sadan will showcase the art of Kathak dance. They will beautifully portray the stories through their dance movements. The renowned Kathak exponent, Padma Bhushan Uma Sharma ji, will also grace the stage and present a mesmerizing Kathak nitrya abhinav performance. 

ALSO READ-Kathak like a sadhana for Rani Khanam

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Kathak maestro Pandit Birju Maharaj passes away

A recipient of the country’s second-highest civilian honour, Padma Vibhushan, Maharaj Ji was also a lifelong Kathak guru as well as a talented Hindustani classical singer and percussionist…reports Asian Lite News

The living legend of Kathak, Birju Maharaj, who had been diagnosed with kidney disease a few days ago and put on dialysis, died at his home here late on Sunday. He was 83.

Maharaj ji, as he was popularly known, was said to be playing with his grandsons when his health unexpectedly deteriorated, requiring him to be rushed to the hospital, where he died of a heart attack.

A recipient of the country’s second highest civilian honour, Padma Vibhushan, Maharaj ji was also a lifelong Kathak guru as well as a talented Hindustani classical singer and percussionist.

He will be remembered by cinema buffs for the two-period dance sequences in Satyajit Ray’s historical drama ‘Shatranj Ke Khiladi’ (for which he sang as well) and for the ‘Kaahe Chhed Mohe’ track picturised on Madhuri Dixit in the 2002 version of ‘Devdas’.

Maharaj ji won the National Award for choreographing ‘Unnai Kaanadhu Naan’ in the Kamal Haasan multi-lingual megahit ‘Vishwaroopam’ and the Filmfare Awards for the Bajirao Mastani number ‘Mohe Rang Do Laal’.

Adnan Sami, one of the first artists to pay his tributes to the doyen of Kathak, said in a tweet: “Extremely saddened by the news about the passing away of Legendary Kathak Dancer Pandit Birju Maharaj ji. We have lost an unparalleled institution in the field of the performing arts. He has influenced many generations through his genius. May he rest in peace.”

Another early tribute came from Union Defence Minister Rajnath Singh, who tweeted: “Pandit Birju ji Maharaj was a doyen of India’s art and culture. He popularised the Lucknow Gharana of Kathak dance form around the world. … His passing away is a monumental loss to the world of performing arts.”

Birju Maharaj was the son of the exponent of the Lucknow Gharana, Jagannath Maharaj, better known as Acchan Maharaj, whom he lost when he was just nine. His uncles were the renowned Shambhu Maharaj and Lacchu Maharaj.

He taught at the Shriram Bharatiya Kala Kendra and the Sangeet Natak Akademi Kathak Kendra, both in Delhi, from where he retired as director in 1998.

ALSO READ-Pandit Birju delighted to showcase the rich art & legacy

READ MORE-INTERVIEW: Kathak Legend Pandit Birju Maharaj

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Pandit Birju delighted to showcase the rich art & legacy

It’s an absolute delight to showcase the rich art and legacy of the country to a live audience. All artists desire to perform in front of live audiences…reports Asian Lite News.

Known for its exchange cultural programmes in India and abroad, non-profit NGO, Routes2Roots recently held ‘Three Generations of Lucknow Gharana’, a Masterclass by Kathak grandmaster Pandit Birju Maharaj. We just caught up with the legend at the sidelines of the event to discover his thoughts on the guru-shishya parampara: Read Excerpts:

Do you agree that the Indian education system does not give importance to classical dance, music or the performing arts in general?

The Indian education system was devoid of classical, culture and performing arts; however, this void has been fulfilled with the new education policy. Hopefully, the schools will be able to introduce performing arts in their curriculum soon. Routes 2 Roots is doing a wonderful job of making our traditional art forms reach the children and the future generations of the country through Virsa.

During the pandemic it was not the Government that stepped in to help artists, it was the people who enabled and empowered each other in whichever way they could to help artists in need?

Pandemic was a disaster beyond imagination, and the whole world was struggling to survive, and so were we. The Government was fighting on many fronts, especially the health infrastructure and therefore help to artists was not forthcoming. I am proud that the citizens got up and helped everyone in need in those tiring times.

Are you happy that things are back to normal and one can perform in front of a live audience?

It’s an absolute delight to showcase the rich art and legacy of the country to a live audience. All artists desire to perform in front of live audiences. I am happy that the hardships of the artists now are over, and live performances have started though slowly. I pray to God that the coming time will be safe and healthy for us.

Do you feel in the performing arts, it’s only those with the patronage of a guru-shishya relationship who succeed?

Any art form cannot succeed without a Guru imparting the knowledge, and it also holds suitable for performing art. The Guru-Shishya parampara has been an inevitable part of education in ancient Indian culture and has continued until today as there can be no substitute for a Guru to impart knowledge to his Shishya. The guru-shishya tradition has been the backbone of many generations in the past. It has honed several great icons in the country. The guru moulds the shishya’s character, versatility, confidence, strength and overall vision of life which help them to succeed.

Last but not least, share your thoughts on this event with Routes2Roots.

Routes 2 Roots event was unique as we were invited to address children from all over the country and with my son and granddaughter-three generations on one stage showcasing the Lucknow Gharana of Kathak. It was an opportunity for me to guide the children with real-time interaction and that too in so many numbers from different parts of the country on one stage.

ALSO READ-Kathak is like a meditation, a sadhana’

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‘Kathak is like a meditation, a sadhana’

Sufi is not a practice, it is a thought. To blend with Sufi in one colour without any discrimination is a way to connect with the supreme power above…Rani interacts with Siddhi Jain.

Dance is a passion for many. An astute Kathak danseuse of the Lucknow Gharana, Rani Khanam has dared to differ in her dance practice. Integrating Islamic verses and Sufiana Kalam of mystic Sufi poets in her Kathak practice for over 20 years, she has carved a global niche as a pioneering Muslim Kathak classical dancer. She has also used choreographed productions as a medium to raise awareness on causes like HIV/AIDS, rights of women, including Muslim women, and persons with disabilities.

The founder-director of ‘Aamad Kathak Dance Centre’ in east Delhi, Khanam recently performed on the compositions of Bulleh Shah and Hazrat Amir Khusrau. Excerpts from an interview with her on the sidelines:

How did you take to dancing and Kathak?

I have been dancing since childhood. Everything I have done so far is a contribution to this field. In fact, since a very early age, I have seen and understood things through dance’s perspective. I pursued Kathak as it is one of the classical dances of the North and carried on with it since then. For me, Kathak is like a meditation, a sadhana that is there in my everyday practice.

You are a practicing Sufi, how do you incorporate it into your dance practice? Please also tell us about the historical research undertaken by you on the Islamic influence on Kathak.

Sufi is not a practice, it is a thought. To blend with Sufi in one colour without any discrimination is a way to connect with the supreme power above – the almighty. Sufi has a very simple way, let it be through devotion or Sufi, it’s the same thing. Alongside, I have done the research and been working on Islamic verses, Sufiana kalam of renowned poets for the past more than 20 years. I have performed on it at an international level and collaborated with international artists and Sufi dancers.

You have defied many odds during your dance career…

Every artist, every human has odds in their life and it is very natural. But when you are focused on your goals you don’t realize when you have surpassed those odds. Being a Muslim, I had few obstacles as at those times dancing was not pursued openly. But with conviction, power, and passion I was able to overcome all these and till today I am working in society by maintaining all due respect.

How did you keep refining your practice during 2020’s lockdown? What did it mean to you?

For the past year, due to Covid, life has given us time to think positively. Being an optimistic person, I believe that if things go wrong there must be a good reason behind it. It needs us to improve. This was a refinement period for me. I took classes, participated in virtual programmes with the kids and other artists. I have been a part of various online discussions. So, last year I tried to be as constructive as possible.

You performed Holi Khelungi Keh Ke Bismillah’ by Bulleh Shah at Kathak Kendra. Please tell us about it.

Kathak Kendra’s event ‘Swadheenta Ke Rang, Phalgun Ke Sang’ is a very nice concept where they have invited all the Kathak artists along with artists from other art fields on the occasion of Holi. I performed a few Bandish, one of them was of Hazrat Amir Khusrau’s and is based on Raag Basant Bahar Mishr. The second bandish was by Baba Bulleh Shah’s Holi Khelungi Keh Ke Bismillah’. The way I portrayed was the Almighty is the actual painter who has painted the entire world with the colour of love. He combined all the true colours of love and unity and came with a rainbow. All the colours on the earth like sea, leaves are all given by God. I am glad that people admired my performance during the show.

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