The grandeur of Kathak dazzles Sri Lanka

Review: Gwen Herat

DANCE: With a romantic name well suited for her personality and the exuberance with which she dances, Geethanjali dazzled and mesmerised those who came to see her at the Indian Cultural Centre, Colombo.

Gifted as she is, she thrilled the audience with her terrific flash of footwork, lighting up the expressive abhinaya and its sheer magic, evoking light on the imagination of one and all with the richness of the Mughal and Rajasthaniaura from those ancient courts.

Of the four main classical schools of dance in India: Kathakali, Manipuri, Kathak and Bharatha Natyam Kathak is mostly favoured by men because of its rigorous, power and vitality but Geethanjali proved this notion wrong because she is physically gifted, vibrant and a bundle of energy as she executed the spectacular Kathak forms.

She was a dynamo who enjoyed what she was doing ably assisted by her troupe of eight equally talented dancers.

If there is one thing that India is proud about, it is her dances and music and Geethanjali is a testimony to it why her country is so proud of its disciples.

Looking in the perspective, Kathak is only big noise and footwork. Nothing more. That is one reason why men opt to it.

Compared to the very feminine Manipuri with its beautiful equally feminine costumes dazzling in mirror work and twinkling toes; the very popular Bharatha Natyam chosen by ninety percent of young girls who at least reach the level of Alarippu and the mythical brilliance of Kathakali with its colourful head-dresses and daring make-up, Kathak is the least interesting of the four schools of Indian classical dancing.

Experience

The only experience I had with Kathak was a sole lesson under the late Sukhendu Dutt who took one look at me and said ‘no’.

After studying at the Kalashestra for a while and reaching the Allarippu stage in Bharta Natyam, my passion still lay firmly with English classical dance but the experience of Kalashestra still lingers and watching Kathak tonight, Indian dance memories revived.

Derived from two Indian words, “Katha” for story “Kathakali” for storyteller. Kathak emerged as a restoration of Hindu arts by the Muslims.

It is performed on the floor and not on a raised platform amidst the seated audiences with music and rhythm while the story elements are of secondary importance. The feet are adorned with many anklets or ghungaroos or bells that act as a percussion instrument.

Ram Gopal (b.Nov. 1920) dancer, choreographer and teacher also studied Kathak under Misra. He opened a school of classical dance in Bangalore in 1935 and taught Kathak along with Bharata Natyam and Kathakali along with Manipuri while dancing all the classics.

Favourite

In 1938 he came over to London where he taught Kathak along with other forms. There was a trace of Kathak in many of his ballets and among them Dances of India, and the Legend of Tajmahal in 1957.

He was not the only one to have popularised Kathak along with other dances of India and I can recall at random dancers such as Udaya Shankar along with his wife, Amala Devi, Bhaskar Chowdhury who was my favourite, the three-sisters, Lalitha, Padmini and Ragini and the beautiful Vyjayanthimala, Indira Rahaman, Gopi Krishna. etc. as some of the great dancers who never polluted the classical image.

And now, comes along Geethanjali Lal who does India proud. For tonight’s Kathak performance, Geethanjali performed the ‘Thumri’ in which she used her mind, hand gestures and expressions to evoke the emotions that are songs of love and separation. She displayed the nuances of the Jaipur School of Kathak Dance.

She danced in praise of Lord Shiva to Carnatic scores set by Dayanand Sarasvati. The young duo, Seema Malhotra and Sunil Lal too were breathtaking.

Geethajali Lal had studied Kathak from an early age under the exponents of this form and presently teaches Kathak at Kathak Kendra in New Delhi.

Youthful exuberance

Prima ballerina, Geethanjali with her obvious command over Kathak, was over shadowed by the youthful exhuberance of Sunil Lal who along with the graceful Seema Malhotra stole the hearts of the audience the moment he stepped before them. Lal was a treat to watch as he stood tall in his over-six foot height and performed in sheer vitality.

Physically robust, brimming in perfection, Lal appeared he enjoyed dancing and the score of Carnatic music responded in passioto to his Salama.

I wish some of our male dancers had the opportunity to watch him and if they did, they should strive to maintain his dynamic physical personality that is requiired by a male dancer. He was so focused on what he was doing that could not take my eyes off him.

In keeping with the tradition of watching Kathak being performed, seated on the ground, my poor back ached and ached but it was worth the pain. The magical atmosphere was recreated by the Indian Cultural Centre that presented it.

..................................

<< Artscope Main Page