'Imitation and Influence of Nature in Dance' , Nrutya Shabda 2016

Sub Topic: Imitation and Influence of Nature in Kathak

Writer's Name: Sunil Sunkara

Sunil Sunkara

Sunil Sunkara started training in Kathak in 2006 under the guidance of Ms. Natalia Hildner and Ms. Kiran Chouhan in the USA. Since 2009 he has been learning kathak under the guidance of guru Renu Sharma at Kalashram, Mumbai under the aegis of Padmavibhushan Pt. Birju Maharaj. He has done his Visharad in Kathak securing a first division from Bhatkhande Vidyapeeth, Lucknow. He has received advanced training under Smt. Kiran Bhargav and is currently pursuing his Alankaar degree under the tutelage guru Renu Sharma. He has performed in India and internationally under the directorship of Pt. Birju Maharaj and Ms. Saswati Sen in a number of venues. In 2014, he was conferred the 'Brahma Nritya Mani' award by Rachna Sansad, Mumbai. In April 2015 he preformed at the prestigious Rashtriya Kathak Sansthan, Lucknow. In 2016, he was the international coordinator for the Guinness record creating Kathak dance performance at World Culture Festival, New Delhi under the aegis of Sri Sri Ravishankar. Having done 100+ stage performances in solo, duet and ballet compositions, he has experienced in stagecraft and production.

‘Nature is Dancing, it is from her that we have to learn’

 Pt Birju Maharaj, Varanasi, 1 April 2011

This often repeated line by the legendary kathak guru Pt Birju Maharaj, brings light to the fact that nature is a constant guru for any kathak dancer, to be observed and distilled into a kathakaars body. The umbilical cord kathak shares with nature is apparent right from its inception , comparative description in Abhinay Darpanam and allied treatises on dance, to the presentation of kathak on stage.


In mythology, the beginning of Kathak is attributed to the approximately 5500 year old episode when Lord Krishna(Natawar) danced on the hood of the snake Kaaliya. The slapping of the soles of his feet on the hood on the serpent resulted in the emanation of the sounds Tā, Thei and Tata, primary bols of kathak. In the words of Pt Lacchu Maharaj, Tā is symbolic of Shiva(Nataraj) or Purush and Thei is symbolic of Shakti or Prakriti(nature). The union of Tā and Thei gives Tata thereby representing the balance of Purush and Prakriti. This episode is popularly represented in Kathak as the Kaalia Daman Gat Bhaav. Significantly, through his dance, Natawar also brings attention to the fact that his intention behind it was to clean the Yamuna river, made poisonous by the serpents venom. This brings to light, the responsibility towards nature that every kathakaar carries. Natawar Krishna is also referred to as Gopala(protector of cows), and in many representations in painting and sculpture seen standing with a cow or gaumata, who is a symbol of nature. In another episode, instead of worshipping Indra, Krishna told Brajvasis to worship Goverdhan, as the mountain plays a vital role in maintaining the balance of nature. This is another popular gat bhaav presented by all kathak dancers, where the oncoming of dark clouds followed by cloudburst is emphatically depicted through lively rhythmic phrases.

In literature, the Abhinaya Darpanam written by Nandikeshwar, a treatise dedicated solely to dance and expression, carries references to the gaits of various animals. Described in kathak context in the book Kathak Darpan Deepika by Dr Rohini Bhate, the gaits of the peacock, deer, elephant and horse are depicted through illustrations, keeping in reference the original Sanskrit descriptions given by Nandikeshwar. Pt Birju Maharaj’s mayur(peacock) gat and mahout gat as well as badak (duck) tihai are a favourite with all kathak audiences, who never let him leave the stage without performing one of them. His lifelike imitations through the kathak format are a classic example of art imitating nature. The ghode ki chaal, or footwork depicting the galloping of the horse is part of the repertoire of all gharanas of kathak. In his youth , Pt Birju Maharaj is said to have performed in Jhansi, where the audience just wanted to watch different depictions of the horse gait for more than two hours. Though in its current form considered a Lokdharmi(life oriented) form of classical dance, both textual references in the shastras as well as performances by veteran kathak masters lend support to interconnection of kathak and nature as seen previously in the mythological origins of kathak.

The interconnection of human emotions and nature is another subject that is explored in kathak. The ‘Kumar Sambhavam’ produced by Sriram Bhartiya Kala Kendra, Delhi based on the poem by Kālidāsa was the first kathak dance ballet to have toured outside the nation in the 1950s. A central scene is that of Parvati doing penance through the various seasons. Each season was depicted using various kathak bandishes. The depiction of Basant or Spring was done in Raag Basant by the bandish ‘Sab Ati Suhavana Ritu Basant’, which is danced even today as a stand alone item to depict the arrival of love in the nāyikas life. In the Sanskrit khand- kāvya ‘Meghadoota’ Kālidāsa describes the various rivers of north India as various nāyikas, a popular subject in kathak bhaav-paksh. The depiction of a nāyika in Kajri, saawan geet and jhoola, the popular semi classical folk music of Uttar Pradesh found a permanent place in the bhaav paksh of Kathak in the late 19th century. These songs are often used to describe the longing of a maiden for her lover, using the imagery of black monsoon clouds as they arrive in the summer skies, while she eagerly awaits the arrival of her paramour. Another often seen character in thumris and dādras is the koel (cuckoo or nightingale) who plays the role of sakhi(friend) as well as messenger to the lovelorn nāyika. The nāyika laments about her separation from the nāyak, shares her jealously upon seeing the love birds mate as well as requests the bird to bring her news of the nāyak. The panghat or riverbank has been often described as a location for the meeting of Radha and Krishna and their ensuing romance(ched-chhad). In the iconic Kavitta written by Bindadeen Maharaj he says ‘Tata Tita Krita Radha, Din Dinata Krita Dhyan’ , where ‘Tata’ is a reference to both the river bank as well as the kathak bol. Thus nature is both a friend as well as a witness to the hero and heroine in Kathak.

Nature becomes a valuable tool in teaching the body language of kathak. Pt Birju Maharaj uses the movement of a snake to describe the movement of the spine in the ‘meend’ and ‘aamad’ movements as well as the serpentine walk in gat nikas (stylized gait in kathak nikas pose). The opening of the wrist in a sama position is very similar to a cat rubbing itself against its master, starting from the nose right upto the tip of the tail. Every muscle from the finger tips to the wrist is sequentially opened in lightening speed, as if the entire hand is caressing air. The Parmelus that are danced in Kathak Nritta use the sounds of nature like Taka Taka (pecking of woodpecker), Jhijhikita (sound of cricket) , Kuku (call of the cuckoo) etc. Intermingled beautifully with dance and pakhawaj bols. Thus every kathakaar can learn from nature and draw upon this wonderful umbilical cord of creativity.



References:
‘Prakriti naach Rahi hai, Seekhna Usi Se hai’, Amar Ujala, Varanasi, 2 Apr, 2011
‘Swinging Syallables, Aesthetics of Kathak Dance’, S K Saxena, Hope India Publications , 2006
‘In Praise of Kathak’, M R Anand, Marg, Sep 1959
‘Abhinay Darpanam’, A Vallabh, B R Rhythms, 2013
‘Kathak Darpan Deepika’, R Bhate, 2004
Kathak: Evolution of the Story Teller, Guardian, Oct 25 2016
‘The Meghadoota’ V M Kale, Motilal Banarsidass Publication, 1969
Raigarh Darbar, P D Ashirwadam, Agam Kala Prakashan, 1990
Ras Gunjan, B Maharaj, Popular Prakashan, 1995