The Thread of Unified Thought

ART - CULTURE - HISTORY Research Articles Series (Article 3)

Writer: Sunil Sunkara

The evolution of Kathak is closely linked with the Bhakti traditions that evolved in North India between the 14th and 16th centuries. During this same time period one must note that the Mughal influence in India lead to a greater emphasis on beauty, intricacy and delicacy in all art forms, with ‘Shringara’ becoming a primary Rasa in the presentation of Kathak. Linking these two influences, we find that Bhakti through Shringara or Madhura Bhakti evolved as a popular medium in poetics, art and fine art. While Jayadeva through his Geeta Govind became the first main proponent of Shringarik Bhakti, the Astachaap poets of Vallabhacarya’s Sampradaya expounded it in colloquial languages that reached the common man. Later we see Meerabai who captured the hearts of many through her devotion to Krishna and finally in the realm of Kathak Bindadin Maharaj who wrote more than 5000 compositions seeped in this same sentiment. Thus each of these poets who still continue to inspire dancers, converge as one in a thread of unified thought –that of becoming one with the divine.

Sringara has always been a reigning subject in Kathak for the Lucknow Gharana because of two reasons, first, Bindadeen Maharaj, who truly made the Lucknow Gharana immortal through his compositions and second the easy translation of Sringara Bhaav of Radha Krishna to a naayaknaayika(commonly used by courtesans and later in cinema music).For example the thumriThadiRahiyo O More Shyam, was used as ThadeRahiyo O BankeYaar in the movie Pakeezah. A feature that is striking in the compositions of Lucknow are the use of simile and transferred epithet , which then translated to the ‘Misaalkebhaav’ that was explored in sanchari depictions.In this article, certain selected astapadis from the GeetGovind are referred along with similar imageries or concepts that are seen in kathak compositions of the Lucknow Gharana. Consider this line from the popular astapadi ‘śrita-kamalā-kuca-maṇḍaladhṛta-kuṇḍala’,

abhinava-jala-dhara-sundara

dhṛta-mandara e

śrī-mukha-candra-cakora

jayajaya deva hare

 Translation: Hail thee… for thou art handsome like a fresh and vapoury blue black raincloud, yet thou sustained voluminous Mt. mandara when Milky Ocean was churned; yet thou, like a tenuous chakora bird that gazes at the moon to drinkmoonshine, are gazing at the moonlike face of Goddess Lakshmi.

The imagery of the Chandra and Chakora has been used in Thumri and Raas compositions. An example is the Raas written by Pt BirjuMaharaj. Radha is compared to the moon or moonlight and Krishna to the chakor bird who is always drawn towards the moon. Here Pt BirjuMaharaj describes the raas as the dance of the Chandra and Chakora.

Aeso Man Mohan RachoRaas 

Hirata PhirataTaalDeta Sab Mil 

NupurJhanakJhanakGatiNyari 

Chandra Chakor Dou Sangh Dole 

RadhaBhayiBrijShyamDulari

Translation: Man Mohan is holding the ronde dance , everyone turns around while clapping and giving beat. The sweet sounds of the bells create adorn the graceful walk. Just as wonderous as the moon and the chakor bird dancing together, Radha and Brijshyam(poet) dance together.

Jayadeva considers Rama to be an incarnation of Krishna and Krishna to be the ultimate form of Vishnu, as understood from the Dashavatara description given by him. This similar thought is seen in the Bhajan compositions of BindadeenMaharaj.

Meri SunoNathJaise 

SabkoDukhNiwara 

AjameenGanikaPrahlaadkoUbhara 

Janak Janaki kiSoch, Dhanush Tod Daala 

GautamTiyaBhayePhasaan, CharanDharatTaara 

GiriUthayeBrijBachaye, IndraBarasHaara 

AntkaalKaunAavat, NazarBharNiraha 

Binda koek Ram, Tero hi Sahara

Translation: Listen to my plea o lord, just like you heard the plea of others. You gave liberation to DaciotAjamin,CourtesanGanika and Prince Prahlad. Keeping in mind the worry of Jankak, you broke the bow to marry Janaki. Ahalya was brought back to life from her stone form by yiur touch. You saved vrindavan from flood by holding the govardhan on your little finer. Who will come for me when my time is near? It is only you O Rama, who is my savior.

Here both the leelas of Ram and Krishna are attributed interchangeably to each other, while also giving reference to Narsimha Avatar. Similarly in the next composition, which begins with reference to Ram as the ‘Dukh Haran’ or savior, the first stanza depics the draupadi cheer haran story. Similarly in the Jhaptaal composition ShyamChabiAtiBani, Krishna is referred to as Kaushalya’s son.ThisRoopaSwaroop of Ram Krishna was experienced by Tulasidas and his brother. There is mention of Krishna Uvacha-Narration by Krishna where Krishna is referred to as Bhagwan. Bhagwan means one who has no beginning or end while avatar is attributed to a specific time period.

Aiso Ram Hai Dukh Haran 

KhechDraupadi Hai Duhasan, Cheer Laago Haran 

KheechHaaro, Cheer Gadhyo, Laage Haran

Translation: Ram is the remover of all sadness. When Dushasan dragged Draupadi into the sabha and puller at her saree, you made it so long, he was tired out pulling the saree.

ShyamChabiAtiBani 

MukutmatheydhareyBhaalKesarTilaka 

Harata Mann Chita Vani 

GreevTreyaRekha, Ganga JamunaSaraswati 

SoheVanmaala Gale, HridayaKaustubha Mani 

Rakhi le Laaj Binda ki de Bhakta Haare 

SunahotohuAraja Mori, Krishna Kaushal Dhani

Translation: So beautiful is the image of Shyam, with his peacock feather crown and saffron markings on the forehead. He steals my mind, thought and speech. The rivers Ganga, Jamuna and Saraswati are reflected in the three layered necklace he wears. HE wears a garland of wild flowers and near his heart hands a brilliant jeweled pendant . Do listen to my please o Lord, the son of Kaushala!

A line written by Prabhakar ‘RituBasant Mein ApneUmang So, KhelanNikasi Hori Hari So’, brings to our focus Spring and Hori, both of which have inspired a number of compositions. The description of spring given by the yellow clusters of flowers has been used as a central imagery in the Astapadi ‘LalitaLavanga’.

       lalita-lavaṅga-latā-pariśīlana-komala-malaya-samīre |

       madhukara-nikara-karambita-kokila-kūjita-kuñja-kuṭīre

Translation: In this springtime gentle vernal breezes from Mt. malaya, the abode of sandalwood trees, that swivel round the slimly tendrils of clove gillyflower plants breeze gently, interwoven with both the fragrances... in this springtime that has bowery cabins made lively with the intermingled buzzes of honeybees swarms and croons of Kokila throngs... he whom you are seeking that Krishna is gloriously frolicking and dancing with folks of girls of age in Brindavan right at this moment, for this is spring, isn't it... oh, dear, therefore, come on... let's go... lovelorn people are unrequited, otherwise...

unmada-madana-manoratha-pathika-vadhū-jana-janita-vilāpe |

ali-kula-saṅkula-kusuma-samūha-nirākula-bakula-kalāpe 

viharatiharirihasarasa-vasante 

  Translation: In this springtime that has thickets full with bunches of showy yellow flowers, on which swarms of honeybees are hurley burley... the season that heightens the joys and longings of womenfolk distanced from their lovers, only to land them in ruefulness and lovesickness, that Krishna is gloriously frolicking and dancing.

In the DeshRaag composition NiratataDhang by BindadeenMaharaj, the opening line draws attention to the beautiful frangrance (sugandha) in the air and this is referred to as ‘sheetal’, similar to the ‘komal’ breeze in the opening line of lalitalavanga. The use of the olfactory sense to create a first impression of the beautiful scene almosts gives an impression of the sakhis temptation of wanting to be there. Considering BindadeenMaharaj wrote under the pen name of Binda Sakhi, there seems to be a very similar thought used here when compared with LalitaLavanga. The use of olfactory description is unique to these compositions.

NirtatatDhangAngSudhang 

BhayePavanMandhSugandaSheetal 

Bansi Bata Tata NikataJamuna 

Vrindavan Ki Kunj Galina mein 

RadheGopiUmang

Translation: He dances making beautiful forms with his body. The cool breeze bears a fragrance as the flute playson the Yamuna banks. In the lanes of vrindavana dance Radha and the Gopis!

Again once note the use of the word ‘Sudhang’. This is also seen in the popular SurdasBhajan ‘Sri NandNanda NachatSudhang’. Pt BirjuMaharaj mentions how he feels that the Surdaspadh may be the inspiration for the famous Astapadi.

When we look at the NayikaBhedas, Mughda, Praudha and AdhiraNaayikaare seen inthe AstapadiChandanaCharchita.In the astapadi, the first sighted naayika is that of an overeager Mugdhanaayika fawning over Krishna . The second MughdhaNayika stands meekly looking at Krishna, and waits for him to pull her into the dance. Her fluttering eyelashes and description as standing on the side brings out her inexperience. The PraudhaNaayika , with the pretense of saying something in Krishnas ear, tickles his ear, which results in him turning his cheek towards her. She uses that opportunity to kiss him. She is described as ‘artful’TheAdhiraNaayika, demands attention to herself and pulls him by his garment, presumably his waistband, towards the Yamuna waters.

In a similar vein, Ras Khans compositions touch upon the concept of different naayikas in the same composition

Jal kinaghatabhare 

Mag kin napagadhare 

Ghar kina kachukare, baithibharesaas 

Ekkesunilautgayi, ek lot pot bhayi 

Ekanakedrigana se nikasaayeaasoo 

Kahe rasa nayak, brijbani tana vidhabadhikakahaye 

Haayhuikulhasuri, ab kijiyeupaya, baas dariyekataye 

Nahiupajegi baas, nahibaajegibasuri

Translation:One forgets to Fill her Pot,One just runs towards the sound in wonder,One sits in her house, helpless, irregular in breath,One heard and returned, but one just lost her senses right there,A few tears escaped the eyes of one. Says Rasa Nayak (poet) , all the ladies of Brij curse the bamboo. If there was no bamboo there would be no flute to begin with, that would disrupt their daily lives.

The most popular thumribandish depicting KhanditaNaayika is Jaage ho KahinRain(You have spent the night elsewhere, haven’t you?) . Similarly, ‘Kaheko mere gharaaye ho’ deals with the same subject. Both of these reflect exactly the Khandita described in the astapadi‘ YahiMadhavaYahiKeshava’

Jaage ho kahi rain 

Alasane Nain Ratnare 

ChaalAtapatiati 

Aaye ho uthibhor 

Maalinagaat, nakhlaagehai, kaapolanpe 

Dasandaagchipaye 

Binda, Sunonahi ye maanat 

Lakh karekarjoor

Translation: Where have you spent the whole night? Your sleepless eyes, staggering walk , scratch marks on the body, telltale perfume of another women and marks of her mascara on your face give away the story of your treachery. You have come now, just as the sun is rising, and try to hide your wrongdoings. O Binda , Krishna does not heed me, even though I plea a lakh times to him.

The imageries of the presence of the other woman, red eyes, scratches on body, fragrance of the other woman, sleepy gait have been used by BindadeenMaharaj effectively to convey the reasons for the khandita’s anger. At the same time while performing this piece, if one referres to the asapadi by Jayadeva, once also can understand the nature of the DrishtaNaayak, which is how Krishna is depicted by Jayadev in this piece. He is unrepentant , and proudly displays the signs of lovemaking with the other gopis. An understanding of both the thumri and the astapadi can help give more shades to the abhinaya, especially if performed as a duet.

Such is the power of Bhakti, that legends describe how Krishna himself comes to complete the lines of Jayadeva or Surdas. In the GeetGovind, the Astapadi ‘PriyeCharusheele’ has a line that is attributed to the Lord. Finally in order to please Radha, Krishna asks her to keep her feet on his head.

smara-garala-khaṇḍanaṃ mama śirasimaṇḍanaṃ

dehipada-pallavamudāram |

Translation:Place your tender feet on my head as an ornament to refute Cupid’s poison

A recent composition by Pt BirjuMaharajji reflects this very thought.

AtiGumanBhariRadhe 

KaaranKrisha Rang Rasa Paage 

Jo Hai Thakur TeenoLokke 

CharananGahiPadaLaagi 

Bansi Ban Sri Krishna AdharLagi 

Sur BaniChahuDishaBaaje 

MaganSunaBrijShyamLubhane 

Dou HridyaViraje

Translation: Radha was full of arrogance and anger because Krishna was upto his romantic antics with others. Seeing that, the lord of the three worlds fell at her feet. Radha who is also known as ‘Sri’ became the flute and touched his lips. As divine aural sounds spread all around, BrijShyam(poet) experienced a delirious happiness.

Thus, all those who have seeped themselves in this Bhakti marg, are interconnected through a unified thought that runs like an eternal thread through history linking these poets like pearls in a necklace. It is for the kathakaars of today to understand this unified thought and add themselves live pearls into the very same necklace.