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Saturday, November 12, 2016

Kathak Symposium synopsis and Afterthoughts.

21st September 2016 was spent at the breathtakingly lush green campus of IIT Powai where one of its kind Kathak Symposium was organised by a senior Kathak Exponent and my gurubhagini Smt. Ranjana Phadke. I was accompanied to this by one of my Senior Kathak Graduation Student. As we entered the venue we were presented with a very warm welcome by the traditionally saree clad volunteer girls and Dressed dapper in Kurta Boys. A huge Sanskaar bharati Rangoli adorned the Auditorium Gate. As we confirmed our registerations, we were welcomed in for a scrumptious south Indian steaming hot Breakfast and Tea Coffee. Post that we ventured into the Auditorium , it was decked up with fresh flowers near the podium with a serene Natraj statue stood enthralling everyones attention. The seats were first come first served basis however the digniteries occupied front few rows. The seating arrangement of this place is incredibly well formed and the stage is easily visible from anywhere from within.
The symposium started with a tribute to the greatest Kathak Legends 
Madam Menaka
Dr. Damayanti Joshi
Guru Roshan Kumariji
Guru Madhurita Sarangji
Guru Sitara Deviji 
Pt, Natraj Gopikrishnaji
Pandita Rohini Bhateji 
Guru Ashatai Joglekarji

The very first session started with a unique combination of speakers on stage.
Four Kathak Gurus representing their respective Kathak gharanas
Guru Ganesh Hiralalji - Jaipur Gharana
Guru Sunaina Hazarilalji - Benaras Gharana
Guru Uma Dograji - Lucknow Gharana
Dr, Rajkumar Ketkar - Padmashree Natraj Gopikrishna Nrutyashaili

Inviting and  collaborating such a dynamic combination on stage was a rarity and equally a risk. However as great as their names, the conversation was on a very cordial level where each Guru shared his or her experience without intruding on each others space. 

Guru Ganesh Hiralalji has crossed 90 , but his sense of humor and his readiness to accept new concepts theories and respecting other gharanas and Gurus is incredible. He explained in detail as to what kind of Impact a Solo performance has on the audience of thousands. One look and an adakari results in hypnotizing a full stadium full of spectators and Rasiks. 
Guru Ganesh Hiralalji mentioned his journey from Delhi to Calcutta and finally Mumbai, he also mentioned the routine of Training, Riyaz and Teaching in his times. He mentioned the emergence of very first schools of Dance back in that Era which were Triveni School, Damayanti Joshiji's school, Mathur Bhatia School, Rama Rao school and many more. He mentioned the impact of Pt. Durgalalji and Pt. Sunderprasadji on the progress of Jaipur Gharana. 

Dr. Sunaina Hazarilalji spoke about her journey in Kathak and about how it has changed from times back then and now... She believes that it has indeed changed immensely. She found the use of Hindi, Bhojpuri, Mithili, Brij and Sanskrit in Kathak very unique and easier to adapt. 


She commented on how technology has made it easier, students take snapshots of todas n tukdas, shoot composition padhants and choreography and take away back home... Today maybe dancers need contacts to come ahead, she expressed her concerns. Kathak was primarily a solo dance then how has it turned into a group dance? she asked. She also raised her doubts about the capacity of a group to tell a story as effectively as a solo performer. Dr. Sunaina ji was upset about the preference that group dancers get over solo dancers and also stated that the Lyrical beauty in it has disappeared due to dance happening on pakhavaj and tabla bols instead of Natvari and Nrityangi Bols. Taal compositions have to be made according to its 'aang' where in the intonation, accents, recitation have to be carefully rendered by the artist which seldom happens. The performance has come down to about 30 mins with just about 7-8 mins given to abhinaya ang which is something which isnt taking the essence of kathak ahead. She stated the importance of attending live performances more often and underlined the fact that the Dancer is never bigger than the dance form and the character should overtake the dancers personality.

A new trend of participation fees for a Kathak performance and show has been prevalent. Students graduate in a matter of less than a decade and start teaching right away. Is this going to pose a threat to creating a new set of less competent non tayyar dancers? One of the very first and common questions that a parent or a student who is about to join a kathak class is "when would the first show be?" This lead to a hilarious uproar among the artist audience.

 Benaras gharana was initially also known as the Janakiprasad Gharana. Tales of compositions been given among the families of Kathakaars in Dowry are still prevalent. Janakiprasad initially from Bikaner was coaxed by the Queen to travel to Benaras where he was told that his art would flourish, The beauty of Natvari Bols where Ghungroos are considered as the pure percussion creator and bols like 'Ta Thai/ Dig Dig/ Tharr' are used and not Tabla inspired bols. Use of exclusive Natvari bols is a forte of Benaras Gharana.


Dance existed even before Krishna and Shiva, so why the Gharanas have been brought up? Artists must think about just progression of their Art and nothing more. The topic about Kathak Kendra came up and memories about Acchan Maharajji, Reba Vidyarthiji, Pt. Birju Maharajji, Kundanlalji came up by Uma Dograji. She fondly recollects the fact that Pt. Durgalalji asked her to take the permission of her earlier Guru Pt. Birju Maharajji before she joined him. In those days it was mandatory to learn either pakhawaj or tabla, Harmonium/Vocal and Yoga when any student joined to learn Kathak. Rebaji and Umaji then performed in many productions of Kathak Kendra like Kumar Sambhav, Malati Madhav etc.

Umaji used to practice along with other disciples of Durgalalji from 9 am to 2 pm and then again from 4.00 pm to 7.30 pm every day. She also shared a memory where she along with her classmates from Kathak Kendra started their Riyaz early in the morning and Guru Durgalalji forgot about them and suddenly remembered at 4.30 about them. He was so touched by their dedication that he took all of them to eat out. The students were asked to practice in a room filled up with sand on Sundays. She emotionally shared precious details as to what all her Guru taught her beyond Kathak, cooking, Ironing, Stitching. He also taught her Padhant in a form which rarely is taught now a days 'the emphasis on the terks, the force, the chalan , the chand'


Dr. Rajkumar Ketkar shared his journey with his Guru Padmashri Natraj Gopi Krishnaji. Sukhadev Maharajji  has described almost 1600 Nayikas. Ketkarji emphasised on the importance of Laya Taal and Sur on the foundation so as to create Tikaav and patience in the carving of an artist.
We dispersed for a satiating Lunch at around 1.45 p.m. and resumed the second session by 2.20 p.m. Noon session was conducted alongwith Paulami Mukerjiji, Jayantimalaji, Mauli Dasji and Keka Sinhaji.

Jayantimalaji recollected the tug of war between Sukhdevmaharajji
(tabla maestro), Alaknandaji (Gopikrishnaji's mother) and Sitaradeviji (her mother) in the same family as to how to make little Jayantiji dance Kathak in a particular way. All stalwards in Kathak and seasoned performers, Jayantimalaji was blessed to be born in an artistic family. Her father stayed in an Artist colony in Benaras however he was force shifted by the Britishers to a place called 'Godalia' right in the middle of a market. He started a school called 'Radha Krishna Vidyalaya' there. At that time only men used to dance, however he taught his Daughters too. So the Britishers came to test. Hence Chaube Maharajji and Pade Maharajji accompanied the three daughters Tara Sitara and Alaknanda on instruments and padhant, Curtains were made of the household textiles and the sibling trio performed Kaliya Mardan , Draupadi Cheerharan and also performed Mahabharat on Shadow play. The DIG was mighty impressed with the performance and was rest assured that what was practiced in the house was pure art and nothing beyond that.


Then they travelled to Calcutta and Rabindranath Tagore saw young Sitaradeviji perform for a function at Shimla House. He was so mesemerised with her art that he bestowed her with the title 'Kathak Samradnyee' Sukhadev Maharajji's cousins Acchan maharaj (laay specialist), Lacchu Maharaj (Bhaav specialist) and Shambhu Maharaj (Performer) all taught Sitaradeviji. Her much acclaimed Snake Dance from the film Anjali was showcased in the session. Jayantimalaji is the 9th generation of Kathak performers in Benaras Gharana, the 10 th generation taken forward by Vishal Krishnaji. She calls her's a 'sangeetadnya family'. We then saw a few curated pieces of work by Sitaradeviji specially the 'Snake Dance' from the film 'Anjali'.


Then Renu Sharmaji spoke about Lucknow Gharana right from the time of Acchan Maharaj and Vikramsinghji along with the momories of 'chandrawali ballet'. She got nostalgic about her time in the Hostel where the time slots were peacefully shared by her contemporaries for the Riyaz Room sharing. She stated that once the piece is taught the Guru's duty is done with, then the responsibilitey lies over the shoulders and feet and body and hands and soul of the student 'jab tak wo rag rag mein samakar jehen mein na utar jaaye'. She suggested students to become 'mediums - maadhyams'

Mauli Das ji then took over the microphone sharing her memories by her Guru Damayanti Joshiji. 
There were three Dancers in those times that were at the headfront Damayantiji (Disciple of Shambhu Maharajji) , Bela Arnab (Disciple of Lacchu Maharajji) , Maya Chatterjee (Lucknow Gharana). Damayanti Joshi ji was a performer but not a teacher. She taught how to learn through observation via the steps 'Najar dekhna, Seekhna, Parakhna' apart from the Teachnique. She (Damayantiji) was a performer who could elaborate and perform 'Thaat' for 45 mins straight. 

Next Keka Sinhaji communicated with the audience about the Legacy of Shambhu Maharajji who was instrumental in shaping some phenomenal artists like Parimal Krishna ji (Disciple of Ram Gopal Krishna ji) her first Guru, Reba Vidyarthiji her second Guru and Vandanaji her third Guru, She spoke about the importance of allignment in Dance where the dancer may be asked at any point to stop dancing and freeze, the resulting stance MUST be visually aesthetic, she also spoke about the importance of filling in the gaps between two 'Bols'. 


The panel discussed about an incredible artist that Late Bireshwar Gautam was, trained under Damayantiji and Gopiji and how he was known for intricately utilising the time between two beats. About how the neck and the spine moved like a 'dori' inan utmost delicate pattern laced with an even subtle beauty of 'kasak- masak'. The importance of 'riyaz' was also explained by Jayantimalaji with examples of three Gurus Tara mausi , Sitara amma and Chaube maharaj in her own home humourously creating a chaos of sweet confusion of influences at her young age, They also agreed upon how the community can stand up for each other strongly resolving the differences between them for the ultimate good of the art that Kathak is. 

 Paulami Mukerjee's founder and faculty of Bharata College Of Performing Arts gave a presentation on Kathak NrityaDarpana was short crisp, however I wanted to hear more and the time ran fast when we had to take a break for Lunch. Her words still ring in my mind about how anyone who teaches us even for a day becomes our father for a lifetime. 

The Lunch was piping hot, tasty and in a conveniently open spaced setting where we could intermingle and talk around with fellow participants and have sharing of sorts. Lunch time dragged a bit allowing us to go through a book exhibit near the stage arranged for participant viewing. 
Post Lunch session started on a high energy note hosted by younger artists hosted by Aditi Bhagwat who interacted with Sanjukta Wagh, Ayan Baneerjee and Sunil Sunkara.


 Sanjukta (disciple of Rajeshree Shirkeji) spoke about the permutation and combination of Form and Approach. She gave example of how poems of a few artists were performed on varient Jaatis in Kathak. She spoke about working across forms through Dance , Literature, Music, Art by the artists in an Interdisciplinary approach in a higher perspective of performing arts context Kathak as a strong medium with a capacity to become a language, She also elaborated on the concept of having the classical form interpreted in a contemporary approach and vice versa. She used the term having your roots in your mother dance form and yet being comfortable in the no man's land when it circulates in and out of your system. Kathak being assimillative of Kathakaars, Nazakat of Darbar Tradition , Influences Of Ballet and yet come forth as having its strong unique individuality. 


There was a quick informative sessions where Nutan Patwardhanji and Sheetal Kapole read out their writeups about Examinations and Evaluation in Kathak. Preeti Valunjkar, Nalini Bhavsar and Jonaki Raghavan then engaged in a talk with Medha Diwekar about Career options in Kathak. This was followed by a quick brush through module on Lights Music and Makeup by Puja Pant, Smriti Talpadeji and Richa Shrivastav. Dr. Tina Tambe, Rajeshri Shirke and Varada Pandit spoke about research in this field. A quick vote of thanks and photographs marked the end of this fabulous day, 


The essence of this Symposium in my understanding would be that Dance is what? It is a spectacle, it entertains, it communicates, it Transforms, its a play of sound and space, it is action , it is meditative , it is self indulgent , it is a Dream, it is Breath. Making dance a burden or a buddy is in our hands, it is a craft and everything is technique ; however how you use it and where makes become a narrative. More power to you Ranjana tai and team.
Having said that I would conclude this article by saying As a practitioner , performer, dancer, artist and a teacher of Kathak I would say that it won't matter how you move however it is pretty damn interesting to know WHAT moves you? Amen to that. 


- Prajakta Sathe. 










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