Guru Mohanraoji Kallianpurkar

Birth Centenary Year

1913 - 2013
Mohanraoji
A Celebrated dancer, A Generous Guru, A Complete Artist a
true 'Kathak'.
Left his education to pursue Kathak dance.
An ardent devotee of his Gurus, who was trained extensively
in both Lucknow and Jaipur Gharana, under Pt. Acchan
Maharaj, Pt. Shambhu Maharaj and Pt. Sunderprasadji.
An unassuming humble person, with wealth of knowledge in
Dance, music and literature.
An erudite scholar, who formed a terminology and extensive
vocabulary for Kathak dance.
An extremely traditional mind yet with a conviction to
formalise and standardise training in Kathak dance...
A very well read, learned man who could write eloquently,
both in English and Hindi.
A visionary who was way ahead of his times in his ideas,
concepts and compositions.
A prolific composer, with an uncanny sense of laya and taal,
who had a vast knowledge of Tabla, Sitar, Vocal..
A Master in Bhav paksha, who showed rare sensitivity and
elaboration in the portrayal of his thumris and bhajans.
A fellow of Sangeet Natak Akademi, a recipient of Karnataka
State Government Award and President's Award.
Tribute
Legendary Guru Pt. Mohanraoji Kallianpurkar
Birth centenary year
1913 - 2013
Mohanraoji
A Celebrated dancer, A Generous Guru, A Complete Artist a
true 'Kathak'.
Left his education to pursue Kathak dance.
An ardent devotee of his Gurus, who was trained extensively
in both Lucknow and Jaipur Gharana, under Pt. Acchan
Maharaj, Pt. Shambhu Maharaj and Pt. Sunderprasadji.
An unassuming humble person, with wealth of knowledge in
Dance, music and literature.
An erudite scholar, who formed a terminology and extensive
vocabulary for Kathak dance.
An extremely traditional mind yet with a conviction to
formalise and standardise training in Kathak dance...
A very well read, learned man who could write eloquently,
both in English and Hindi.
A visionary who was way ahead of his times in his ideas,
concepts and compositions.
A prolific composer, with an uncanny sense of laya and taal,
who had a vast knowledge of Tabla, Sitar, Vocal..
A Master in Bhav paksha, who showed rare sensitivity and
elaboration in the portrayal of his thumris and bhajans.
A fellow of Sangeet Natak Akademi, a recipient of Karnataka
State Government Award and President's Award.
Tribute
Legendary Guru Pt. Mohanraoji Kallianpurkar
Birth centenary year
1913 - 2013
01
Articles by Pt. Mohanrao Kallianpurkar
Guru Bindadin Maharaj : Gauravashtak 02
Guru Sundar Prasdji : Aarti 03
|= +|: +||: || 04
Guru Pt. Shambhu Maharaj 09
Dance Seminar : 1958, Sangeet Natak Akademi 15
The Technique Of Kathak : Marg 1959 20
HWH Hs ebr 24
Syllabus: Bhatkhande University of Music, Lucknow 29
nanam Ama {~aOy _hmamO 32
Rohini As I Know Her 36
Indian Classical Dance : A Book Review 39
Traditions Of Indian Classical Dance: A Book Review 41
Chintan 43
Articles about Pt. Mohanrao Kalyanpurkar
n. _mohZamdOr H`mUnwaHa - OrdZr VWm Hm` Rohini Bhate 46
PmoHm| go CS> aho h -`mXm| Ho no Padma Sharma 50
_mohZamd H`mUnwaHa `mXm| Ho PamoIo _| Purnima Pande 52
Mentor And Friend - Not Guru. Uttara Asha Coorlawala 55
eVe: Um_ Pranati Pratap 57
A Tribute To My Guruji Bhagyashree Oke 59
_mPo XmXmJw Shama Bhate 62
Kathak Utsav 2003 Dr. Sunil Kothari 65
Thumri's Genesis In Kathak Dance Mohan Nadkarni 67
Remembering Mohanrao Master Saheb Susheela Misra 71
n. _mohZamd H`mUnyHa Rohini Bhate 74
01
Articles by Pt. Mohanrao Kallianpurkar
Guru Bindadin Maharaj : Gauravashtak 02
Guru Sundar Prasdji : Aarti 03
|= +|: +||: || 04
Guru Pt. Shambhu Maharaj 09
Dance Seminar : 1958, Sangeet Natak Akademi 15
The Technique Of Kathak : Marg 1959 20
HWH Hs ebr 24
Syllabus: Bhatkhande University of Music, Lucknow 29
nanam Ama {~aOy _hmamO 32
Rohini As I Know Her 36
Indian Classical Dance : A Book Review 39
Traditions Of Indian Classical Dance: A Book Review 41
Chintan 43
Articles about Pt. Mohanrao Kalyanpurkar
n. _mohZamdOr H`mUnwaHa - OrdZr VWm Hm` Rohini Bhate 46
PmoHm| go CS> aho h -`mXm| Ho no Padma Sharma 50
_mohZamd H`mUnwaHa `mXm| Ho PamoIo _| Purnima Pande 52
Mentor And Friend - Not Guru. Uttara Asha Coorlawala 55
eVe: Um_ Pranati Pratap 57
A Tribute To My Guruji Bhagyashree Oke 59
_mPo XmXmJw Shama Bhate 62
Kathak Utsav 2003 Dr. Sunil Kothari 65
Thumri's Genesis In Kathak Dance Mohan Nadkarni 67
Remembering Mohanrao Master Saheb Susheela Misra 71
n. _mohZamd H`mUnyHa Rohini Bhate 74
_hmamO {~XmXrZ
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=||=-||| |= ||-||-| =| ++| || , .-|= ++ | --||| || || -- |-|| -= |-|| r| ,
+|-|||+|-| , i|-|=| == ||| +| =-|=-| -| i-||-| r|
|-| - -c -| |||c = || |=|i|r = :|| =|
||| , |= || = =| -|| =| -||-| || +-||-| || , || |-|
= |-|| | |=|| = |||-| -| = i|-|||| -||z
c- -| i=|| |-|| || | ||-|= -||+-| r| | ,
||| ||| i= |=|| -| |-||| , |-|| ;| +=| r -
|ir-| -|=-|| =| i|||r +-||-||-| = ||| r| , i=--|
|= ||-||-| || +-|| -|| =||=-| |-| =-| ||-| | ,
||- = :| i|r||- -|| i-|:|= | + ||r-|-||-| |
|||| + -|r| i- i|-|i|- -|| -| || , |=|| -|-| +
|+ r||-||-| + -||-||-| = ++ r ,
||i- = r | , i=|| |||||-|| | || -|-| | |=|| -|
+ |--||-||-| = = -|| + :||+||: | = |ir-|
==| :|-| -|| -| |-| i=|| , i|:||-| i|= ||| ||r|
|| , |ir-| =| i|||r + r-|-||-|+||: || = ||| r| ,
=| -||r --| | | | ||-||-| || =| -= := =
+ -||r-|-||-| ,+ i|||-||-| | |= -|||||+||:
-|=| , |= ||-||-| || == || == | +-||-| -||
|| + r-|-||-|+||: || = ++ | , + =:-|-||-| || , ||
:i | +-| -|| =| -= :=| , - -| || =|= .-r
-|| =|= =: , i:--|| -| |= = +: + r , |=
z|| -|| -|-|| .||-| =| =| :-| =| i-|:| i:|| ,
-|||||+||: || =| |ir-| = ++ r , =|= =: , ||+
+-| =| +-||i-|- -|-|| = |=|| -| .|| i:-| |||c
-| |= + ||||= + |: +||: || = i:-|| ||
=|z i:|| | || |-| | , +-| |||| :||+||: ||
-|| r ,
= ||| -| i| = = -== |-| -|| | .| : =:
+ r-|-||-|+||: +-| +i|| | -|| +ri+||: = |-|| =| i||| |-||-| -|| , -|r|-| i||= | -|| |
||| ||+|-|+| | ||+ |-| | | +-|| +-|| = |||- = i|=- i|:||-| +:||+||: || -| +-|
-||| + + |--||-||-| | .-|= +i|| =| ||+ -|-|| =| ||- i=|| | +i||| = i-| +-| +||
|-|| i-||| , ;| +=| |-|| -|| ;| ++||- =-|| =| = i-||| , .-r|-| |=|| =| -||=|| =| |||i=|| =|
|||-|| = i-| ||| r-| -|| , |||-| =-:| | +|| i||| :| -|| =|= = -| -|r|+| | |-| , +
=- | ;| +=| ;| -|r|-| =-|| -| +|||-| +|- =-| :||+||: | r| |=|| -| ||i- , |i- , =-| , -|| |
= i-| || ||-||| |-| ||-| , -||i|=| -|: -|| -| -|r|+| i|||| =| n|-| +|-
i=|| , |=|| =| +-| |||| = +i- |z| |: -||| ||
+ |--||-||-| -| -|r|| i=|| i= .-|= :| ++| = i-| ;|
| | .-|=| +||| =- -|r| ||- | , =r| =- | i=
=-|| =| ||+= n|-| +|- =-|| |||= r , -
|||-| -| || |i- -|r| :=| , | -| =|-| |||- | -||
.-r|-| +-| ++| - + ||-||-| | +|:+||: - =|
= i|=- i|:||-| | , |i-= ||i-| , -+ -|+ ||+
.-|= -||-|| ||-|+||: || = ||| |-| c | -
=| -|| .-r ||||| n|-| || , .-r|-| -|i|||||| =| ||
= ||| i=|| || -| -|=-|= -||| , |r| .-r|-| -|=-|=
i= |=|| -|| i|| -| |z| =|| + +r|| | .-r
||-| = i|r||- i:|| |= -|r||| i|:|:|-| | |r-|
-||-| -|| || i-|-||| , |=|| =-|| =-|| i|-||: -| i|i|+
+i||| +|- i=|| i||| .-r -| :i i-|-|| -||
-||=|| | |= :||+||: =| ||-|-| =| -|=-| i=|| =-
||+ -| .-r|-| || == ||=| || .| ||+=-| | |-|
| , |||c =| |-|| | |=|| ;--| -|-||r- r | i=
i-|-|| , |= || = -|=-|= ||-| | -|r||| i|:|:|-| |
.-r|-| +-|| -||-| |:-||-| | |:-|= |:+||: =
+i||| +|- =-| |||| i|||:| | -| +ii|- r , -|
i-||| , ||i-| +-| -||-| | -||-| |: r|= +||: =
=|-| =| ||| +||-| || |= =-| -|r||| |=
i:|| , .-r|-| |||| i= +-| |= |||| :||+||: || =
-|= -|r||| | -|=-|= = +|| -|r||| )||
+i- ||| r|-| =| +:|-| ;|| +=| | r| |=-| r ,
-|r||| i|:|:|-| = i|| |} :||| +:- -| r , =
-| -|r|+| ||- |r r i= -|:| i||| :- |-|| + |r |-|| | ||| , ||i= |=|| -| -|-|| i=|| i= |
=-| -|r||| -| ++||- |z|||-| =| i-|||r -|r| i=|| |||c = +i-i=- =-||=|| =| -|=||-|| =-| = i-|
+||i= -| |= +|:+||: =| i|| || | |=|| | +| -r +i|i|- | -|| r , +-| |||| | |= =|
=-| -|r||| |=-|| | , -|-| -| = r | ;| i||| |||||: +|- = | |||c = i-| ||-|| r| | ,
+ i=|| ||: -i|||: -| -|r| +z-|| ||r-| , |r ||i|i:- |-||- |r |-| - =| |-|| || , |= ||-||-| ||
-| r i= -|r||| i|:|:|-| = +i- |=|| =| |z| |: |||c =| |-|| | |-- |z :=| | , i||= =||
05
[.-|: -||.::|-| =| |||- =|:-|| -||+|-| :||| i|-|
- -| |||i|- =|= +|| -| +i=- |-|=|
>|;| |= + |:+||: || =| -|| |- r| -| |i=|
|||-| = ||| =| |||- i|- .-| |-| r , |r |i| -|-|
=|= -|| =| ||| -| i|-| ,
|-|| - =| i:-| -| i-| +-| ||-|||||-|| |
i|-|||| i:-| || , ||i= |= || -| ++||- |z|||-| =
||| -|:| +-| i|| = =+ -| ||=| i=|| , .| i:-| -|-| +-|
|-|| =| -|-|| i=|| , -|-| -|-|| i=|| i= -- -|-| |r
+| i-||| , i||=| -|:| --||| || , -|=-| |r | -|:| |r| |r
=| |||-| i-|-| ||| , -|| :| =-|| + ||| -||-| | +|-||
|z| -| | |= || = ||| i|-|r | || = ||-| =|
+-|= |-| ||| , |r ||=| =-| -| -|:| -i-|= -|| ir|= -|r|
i= || -| || == r | -|| || -|| .+-|i| =|= -|| -|
r , .|=| +| >|| |= || =| r , |-- |r |+| .+-|i|
|= || =| -|=+| | r|i:= -|r =| +i-=-| r,
|= |: +||: || =| |--| |-| -| ||||-| = =||z|
||| -| r| , .-|= i+-| =| -||-| + |--||-||-| || , |= || =
:| -|| | = |ir-| || , |z -|| | i|r||- |=
+||-||-| || , || ||: -| +=|i-=|-| , +||| |ir-|| |
+||r-|-||-| || -|| -| = -|-= -|-i=|| = |= r ,
|| -| || == r |
-|| || -|| .+-|i| = = -|| -| r ,
.|=| +| >|| |=||=| r ,
|-- |r |+| .+-|i|
|=||=| -|=+| |
r|i:= -|r =| +i-=-| r ,
|
|= + |: +||: ||
-||r-||| =-|||+=
=||=-||| |= ||-||-| =| ++| || , .-|= ++ | --||| || || -- |-|| -= |-|| r| ,
+|-|||+|-| , i|-|=| == ||| +| =-|=-| -| i-||-| r|
|-| - -c -| |||c = || |=|i|r = :|| =|
||| , |= || = =| -|| =| -||-| || +-||-| || , || |-|
= |-|| | |=|| = |||-| -| = i|-|||| -||z
c- -| i=|| |-|| || | ||-|= -||+-| r| | ,
||| ||| i= |=|| -| |-||| , |-|| ;| +=| r -
|ir-| -|=-|| =| i|||r +-||-||-| = ||| r| , i=--|
|= ||-||-| || +-|| -|| =||=-| |-| =-| ||-| | ,
||- = :| i|r||- -|| i-|:|= | + ||r-|-||-| |
|||| + -|r| i- i|-|i|- -|| -| || , |=|| -|-| +
|+ r||-||-| + -||-||-| = ++ r ,
||i- = r | , i=|| |||||-|| | || -|-| | |=|| -|
+ |--||-||-| = = -|| + :||+||: | = |ir-|
==| :|-| -|| -| |-| i=|| , i|:||-| i|= ||| ||r|
|| , |ir-| =| i|||r + r-|-||-|+||: || = ||| r| ,
=| -||r --| | | | ||-||-| || =| -= := =
+ -||r-|-||-| ,+ i|||-||-| | |= -|||||+||:
-|=| , |= ||-||-| || == || == | +-||-| -||
|| + r-|-||-|+||: || = ++ | , + =:-|-||-| || , ||
:i | +-| -|| =| -= :=| , - -| || =|= .-r
-|| =|= =: , i:--|| -| |= = +: + r , |=
z|| -|| -|-|| .||-| =| =| :-| =| i-|:| i:|| ,
-|||||+||: || =| |ir-| = ++ r , =|= =: , ||+
+-| =| +-||i-|- -|-|| = |=|| -| .|| i:-| |||c
-| |= + ||||= + |: +||: || = i:-|| ||
=|z i:|| | || |-| | , +-| |||| :||+||: ||
-|| r ,
= ||| -| i| = = -== |-| -|| | .| : =:
+ r-|-||-|+||: +-| +i|| | -|| +ri+||: = |-|| =| i||| |-||-| -|| , -|r|-| i||= | -|| |
||| ||+|-|+| | ||+ |-| | | +-|| +-|| = |||- = i|=- i|:||-| +:||+||: || -| +-|
-||| + + |--||-||-| | .-|= +i|| =| ||+ -|-|| =| ||- i=|| | +i||| = i-| +-| +||
|-|| i-||| , ;| +=| |-|| -|| ;| ++||- =-|| =| = i-||| , .-r|-| |=|| =| -||=|| =| |||i=|| =|
|||-|| = i-| ||| r-| -|| , |||-| =-:| | +|| i||| :| -|| =|= = -| -|r|+| | |-| , +
=- | ;| +=| ;| -|r|-| =-|| -| +|||-| +|- =-| :||+||: | r| |=|| -| ||i- , |i- , =-| , -|| |
= i-| || ||-||| |-| ||-| , -||i|=| -|: -|| -| -|r|+| i|||| =| n|-| +|-
i=|| , |=|| =| +-| |||| = +i- |z| |: -||| ||
+ |--||-||-| -| -|r|| i=|| i= .-|= :| ++| = i-| ;|
| | .-|=| +||| =- -|r| ||- | , =r| =- | i=
=-|| =| ||+= n|-| +|- =-|| |||= r , -
|||-| -| || |i- -|r| :=| , | -| =|-| |||- | -||
.-r|-| +-| ++| - + ||-||-| | +|:+||: - =|
= i|=- i|:||-| | , |i-= ||i-| , -+ -|+ ||+
.-|= -||-|| ||-|+||: || = ||| |-| c | -
=| -|| .-r ||||| n|-| || , .-r|-| -|i|||||| =| ||
= ||| i=|| || -| -|=-|= -||| , |r| .-r|-| -|=-|=
i= |=|| -|| i|| -| |z| =|| + +r|| | .-r
||-| = i|r||- i:|| |= -|r||| i|:|:|-| | |r-|
-||-| -|| || i-|-||| , |=|| =-|| =-|| i|-||: -| i|i|+
+i||| +|- i=|| i||| .-r -| :i i-|-|| -||
-||=|| | |= :||+||: =| ||-|-| =| -|=-| i=|| =-
||+ -| .-r|-| || == ||=| || .| ||+=-| | |-|
| , |||c =| |-|| | |=|| ;--| -|-||r- r | i=
i-|-|| , |= || = -|=-|= ||-| | -|r||| i|:|:|-| |
.-r|-| +-|| -||-| |:-||-| | |:-|= |:+||: =
+i||| +|- =-| |||| i|||:| | -| +ii|- r , -|
i-||| , ||i-| +-| -||-| | -||-| |: r|= +||: =
=|-| =| ||| +||-| || |= =-| -|r||| |=
i:|| , .-r|-| |||| i= +-| |= |||| :||+||: || =
-|= -|r||| | -|=-|= = +|| -|r||| )||
+i- ||| r|-| =| +:|-| ;|| +=| | r| |=-| r ,
-|r||| i|:|:|-| = i|| |} :||| +:- -| r , =
-| -|r|+| ||- |r r i= -|:| i||| :- |-|| + |r |-|| | ||| , ||i= |=|| -| -|-|| i=|| i= |
=-| -|r||| -| ++||- |z|||-| =| i-|||r -|r| i=|| |||c = +i-i=- =-||=|| =| -|=||-|| =-| = i-|
+||i= -| |= +|:+||: =| i|| || | |=|| | +| -r +i|i|- | -|| r , +-| |||| | |= =|
=-| -|r||| |=-|| | , -|-| -| = r | ;| i||| |||||: +|- = | |||c = i-| ||-|| r| | ,
+ i=|| ||: -i|||: -| -|r| +z-|| ||r-| , |r ||i|i:- |-||- |r |-| - =| |-|| || , |= ||-||-| ||
-| r i= -|r||| i|:|:|-| = +i- |=|| =| |z| |: |||c =| |-|| | |-- |z :=| | , i||= =||
05
[.-|: -||.::|-| =| |||- =|:-|| -||+|-| :||| i|-|
- -| |||i|- =|= +|| -| +i=- |-|=|
>|;| |= + |:+||: || =| -|| |- r| -| |i=|
|||-| = ||| =| |||- i|- .-| |-| r , |r |i| -|-|
=|= -|| =| ||| -| i|-| ,
|-|| - =| i:-| -| i-| +-| ||-|||||-|| |
i|-|||| i:-| || , ||i= |= || -| ++||- |z|||-| =
||| -|:| +-| i|| = =+ -| ||=| i=|| , .| i:-| -|-| +-|
|-|| =| -|-|| i=|| , -|-| -|-|| i=|| i= -- -|-| |r
+| i-||| , i||=| -|:| --||| || , -|=-| |r | -|:| |r| |r
=| |||-| i-|-| ||| , -|| :| =-|| + ||| -||-| | +|-||
|z| -| | |= || = ||| i|-|r | || = ||-| =|
+-|= |-| ||| , |r ||=| =-| -| -|:| -i-|= -|| ir|= -|r|
i= || -| || == r | -|| || -|| .+-|i| =|= -|| -|
r , .|=| +| >|| |= || =| r , |-- |r |+| .+-|i|
|= || =| -|=+| | r|i:= -|r =| +i-=-| r,
|= |: +||: || =| |--| |-| -| ||||-| = =||z|
||| -| r| , .-|= i+-| =| -||-| + |--||-||-| || , |= || =
:| -|| | = |ir-| || , |z -|| | i|r||- |=
+||-||-| || , || ||: -| +=|i-=|-| , +||| |ir-|| |
+||r-|-||-| || -|| -| = -|-= -|-i=|| = |= r ,
|| -| || == r |
-|| || -|| .+-|i| = = -|| -| r ,
.|=| +| >|| |=||=| r ,
|-- |r |+| .+-|i|
|=||=| -|=+| |
r|i:= -|r =| +i-=-| r ,
|
|= + |: +||: ||
-||r-||| =-|||+=
+-|| =| , |=|| +|--| r | ;|= i-| | -=|-| := r | , -|| :i -|| .-|=| | || | -| = |i-
-|| r| | , |r ||-||| =| ||- r i= ||| = i-| r-| +=z-| = ||| |=|| =| |=| =|| r|-| || r| || ,
||-|:|| -|+ -| ||-| -|| i-|-| ||| , |+ i|||| = || -|
||; -| =-| ||i+- r|-| = == -||r +| |=|| +-||
= , ||-| + =-||| -|||-| | |||= ||| -||-| =
+-|| =| ||; -|-| | | , |r :-||| r i= |=|| =|
i-| -|-| = +|| -|| =| -|r| i=|| , r |- , |r| -=
+|i||i= |||-| |=| -|r| || , ||| i= +|| || , +-||
i= ||= -|| , -| ||i||| || -|:|-| -|=+ i: | ,
= +i- r|i:= +-| = ||||: .|= ||| i|||: r| r| ||-|
;| +=| |-| -| -|r||| i|:|:|-| =-| |= z||
|| , ||| = -||-|-| -| -|| ;| =| i||| :|| -|r| || ,
= ||: |-|||r = ||| |-| r| , |= -|= -|r|||
+|-| ||| || , i||=| |--| i|||r = =; ||| ||: r| ,
.| |-|| .+i|- | | |r -+|| = +||- .-r|-| -|
|=|| |r- +|--| | , i=- |r =|| -+=|i-|= r| || ,
-| =-||| .-r| | r|| |;|| + i-|-|| +-- i=|| ,
:| --||-| || =| || -| .| ||i-|=| =| i-|-||i-||| r|
|||- | -|| = =; +i-i=- =-||=| |=|| | i-|-|-| | || +=| =| i|i=|| -|i||| = ||||: .| |||||
= i-| |-| -|| , >|| -||||i|r +=|||| , +-|== -|r| || |=| , ;| i|i- -| .-r ||- =-|| -|| =i=-| r|
+=|||| , + =|+= || , .|-||,|-| =| )-|-|| } , ||| , -|r||| i|:|:|-| =| -|| = ||-|-| |== =| |
. -|| =| ||r| , >|| ||r-|-||-| , >|| ||||= -|| | -|-|| +||-|| =| i= i=| +|+ =| ||| -|:| i-|-|
||+ ||-| = =; =|= |r| |- | , ;-| +i-i=- r| r , |=|| -|r||| i|:|:|-| =| +|| +i-i:-| i=||
i||-|| = |+|| i||| -i|-|| | -| |z| -||-||i-|- r|-| =- | ,
|| , |= ||-||-| || = || == i:-|| -= +-| -||; =
== ||| ||: |=|| =| = ++ r| , .-|=| =|| =|
||| r | .-|=| ++| =||=-||| = i||| =| :=-|
+| -|r| || , ||-|= ||-| -| +i--|| =| |-|| || ,
=| -|:| ||-||| i-|-|| , i||| =| |i- | ;|= i-|
-|| -|||| ||-|-| | +r-| r| |r :|+-|-| =| +| ==|
i: || r |-|| | -| ||||i=- r| ||-| , =-| =
||-|-| -||| || , :| --|-| || =| || -| r| |r |=|| =
||- ||-||| | |=|| -||||-| = i-| +i- r , ;|
+|| |= ||-| , |i= |=|| +-| i||| =| i||| :-
+=| |= ||-||-| || = ||| r i||| -i|-|| |
| , |i: i|| |-|-| =-| ||| -|-| |= ||-| , -| |r
-|-|-||-|| =| |--| r| , ||| -|-|-|| , -|-| -i+|||
||-|= +-|| -|||||| r=| | |- =-| , |r ||-| -|
| -||i|=|-||-|| .-|=| +-|| i-|i-|i- || , .-r|-| ||
||||-|= || , |r ||-+|| || =| || -| -|-||
i|-| |-| =| |i =| , | r - -|-||| --||ir-|| ,
|||-| -||| || , |=|| -|r| |||- , | || -| -|-|
ir-|| -.;| , =|-| -:r-| | -||=-|||| ,
=| -|r| ||-| -| ||-|= ==| |:-| :-| ,
=|i-||| -:-|-| , r|-|| -|| :|+:| |+r| , -|
|=|| i=|| =|||| ||; =|z= +-| +i|| = |||
=||-| | || i|| |z| |- =r| ||-| r , |r |=||
r-|:|||: |-| | , |r| |r ||-|= |=|| =| =: |-|
=| |i r , =-| -| |-|||-| -| |i- | -
||| , == r| -|r|-|| -| |=|| -| =|=| |-| =-|||| |
z| |-||-| |-= | -| z-| -| -|=| ,
|-|: | +|i||i= |||-| i|-| r | , +-| || =
z||-||-= -| -|| -|| :== |:||| i:|| i= -|
-||| + .-r|-| +-|| +-|| | ++ =| ||| -|| i:|| ,
-|=-|= -i|- -|i| =|-|| -| ||= , .| |-||
|r| ::| | = :|-|| || , ++ =- -| -|-| -||| =
z||-||-= -|i| =|-|| = i+i|+-| | , -| ||i||| -|
i-| ||| , |r| .| |+ -| z| i-||| , i=|| +=| =|
;| |:||| =| |-||-| i=|| | -|:| -|i| =|-|| ||-| =|
i|i=|| = +| r| |r ||-|= ;| ||| | |-| ||| ,
|-||r :| , |-| -| |=|| -|:| =|z-| =| -|| -|r| | ,
|=|| =| |-|| |+=| -||| | |-- | +-||
i=- ||: -| =r| - || -||r-| , -| |=|| -|=-|=
|--|-| r =| |= , .-r|-| ||: -| -|:| |-|||| i= | |=
||-| | -| --r =| |= |=-| r , |i: --| ||-| -| ||-||
-|r||| i|:|:|-| =| i|+ =|-| | i|+=| i:||r|| r|
||r- r| , -| -|| -|-|i- r , --| |z -|||||-| r| , -
= |-|| =- | , |=|| = -|-|| +||r-|-||-| -| ||
-| |- , =| -|=-|= = i-| ||-|| r| ||| ,
|-|| , -| | |=|| | .-|=| +-|| =| -|:|| -| | ,
i|:|; =| ;| |-|| -| || -|-| |=|| = || = , -| | |
+||r-|-||-| -| i=--| ||- -| =| -||-| =-|||| || |
+z , |r :| || -|| -|| |=| = ||-|-| r , ||i=
.-|= -|| ||-|| | ||-+|| = ||- ||-||| |
|=|| ||||-| + =z | | i-||r|| -|| |
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.-|= -|| =| |||c =|z-|| +z| , | , || .-r|-| +-| +-|| i|||-| || , |||= .-|| =| = , || |||-
-|| =| ||||- ||-|-| |- :=| , -| .-|= |-|: =| i-|:|= | , || -|||- -||||-| | |i:|| =| = +|
i==|-|| -| r| , ||-| -| |r |-|:|>|+| +-|i-|-|-| || , -||| | i-|-| ||-| || , -|| :i -| |=|| =| >|= ||
|= ||-||-| -| .-r |-| -||| i-||| | |-|| -|||-|| =| , -||-|= =i- || - ||| -=| ||-| --|| , ;|-| .-r|-|
|=|| -| +-| -|| =| || +| =- r =r| - i+| || -||||-| =| = =+ -| -|| i=|| | ||| || ||-| ,
-||-| || -|| r| , |r = = i-| r| r| , |i: |+ |||| + || +|-| -| i|-|i|- -|r| |-| r| || | .||
-|:| z|- -|r| , -| -|:| +-| i|:||-| |||| +:||+||: = ||| -|| |-| r| , |r -|r| || -|| -| =|-|| -|
| ||=-| =| || =-|| -|r| i-|-|-| , |||||r| =| -|| || r| r , |r .= |i:| +|- =|= | |- +
|r ||-|= +|--|-| r i= |=|| ||+| | | | |r |||i- || , ;|= +||- |=|| -| =-|| i=|| = |||
-|| +:||+||: | i||| +|- = , ||| i= ||| ||r| ||-| -|| -|r| i=|| , .-|=| -| |i:|| -| r - i|i-|--|
=| |-||| || , .-r|-| = i:-| |=|| =| +-| :|| = -||i|=|| =| |- , i|-|-| i-|||i=| |- =| |z|
= |r- +||| -|i-| = i|=: =z| = i:|| | +||| r; , ;| i|i| |- = ||=-| = i-| i|r||-
;=| += =| i= |=|| +|-| |-|: -| r| |-| + .-r =|= -||||-|| -|z-| -|-|=| -| .-r =z|-|| i|- +-||
+|- = , |r = |r- |z| |:| ||, i=- |=|| -| ||| -| |-|i+- i=|| ,
;| i||||| = .-|: =| =-|| :| || +|- = i:||
|r .--|=-||| r i= +||| |ir-|| = -||| + =||=-|
, |=|| =| -|r|-| .+-|i| + |||||r| -| +|--|-| +=
= |-| -| ||| --i- | ||| -+| -|||-| =| +|-
=| | .-|=| -|i --|i +||| =| , |=|| =| -|
-| |=|| -| i=|| , -|:| -|| -= -|| r i= i|+| -|
=-||-|= .+-|i| || , i=|| -|-| -i||| = = ||--|
.--||| -||+|| =| -|-| -| i-||; = |i:| =| +-i- -|
= ||| |-||-| -| +| i|+ i=- =-| =| .-|=| |-|-| ,
|=-| +:|-| i=|| ,
-|:| || | :| |-|||=|| +:|-| :=-| =| ||-||| i-|-||
+||| |ir-|| =| -|| =||=-| )i-||||-} |=|| =
r , ||i= |=|| -| -|-|-|-| -| |-| | |-| -= r|||
|i|- ++||- =|= -|| = ||| r|-| || , ;| ||| -|
=| i|+ i=- i=|| , i||-| | |- ||| ||r| -| =
||-| |z i|-||: | |-|-| r i= i=| +=| |=|| ||
|| |=|| =| :|:| -|-| -| r||| i=- =-| =| |-||-|
|-|- ||r|| = +i||-||=+ = |- =| i-|-||| r| ,
:| , .-r ||| || i= |=|| +|= r ||| , +||i= =
||-| -| |=|| =| ++||- =|= |-|| -| ||-||
-||+|| -| r||| i=- =-|| +|| |-|| || , i=-
)=|=|} -|| +| =-| = i-| -|-||-|| ||r| , ||-| -|
|=|| -| |-||-| ||=| =| | :|:| =| i|-|i|- -|| -|
|=|| | =r| - |=|| , +|| r-|| +|||-| -| |+ ||-||
== r||| i=- = ||=| ||||i=- = i:|| ,
-|r| -||| |=- r |=|| -| ||-|| =| |-|- |
|| |=|| -| |||c =|z| , -| || |=|i|r -| .-|=|
-||||| | =r| - || , i|--|| ||-|| ) -|| } =r| ,
r|i:= +|i- =| | .-|=| .+-|i||| = i-| i-|i=-
.--|| ||-||)-|| -i|-|i|-} -||| |=-| r , =r| -|
+|i- -++ +:|-| i=|| , -|-| |=|| = +|| |r +|i-
i|-|i|- -|| -| |- -||| , ||-| -| -|-|| i=|| i=
-++ :=| r , |||c -| || +|- =-| = ||: |=|| |-|
|=|| -| |: =| |-|- | -| i-||| r , i=- |r |r
- - -| || | | | +-| |||| +:||+||:
||-|-| =| .|= || i= |=|| +|| =- r , .|-| |=||
= |:| + .-r|-| == i||| =| +i||| :-|| |-|
=| |- |-||-| = i-| +i- i=|| , ;| +=| ||||||
i=|| , .-|=| +|-| i|| || - i|r||- =|i|+| ||i|-||
i|| -|- =| |--| r| , || +-| c| =| = r| |- r ,
-|||z =| |ir-| >||-|-| |-||i-|-||:|| , .|= ||: ||
||| | := =| ||- |r r i= =| ||- +|| :||
i|r||- +||| |ir-| - ||-| , i|+| | -|-| , +||| |ir-||
|||| -|r| r-| , i=|| |-|-=r-|| = =|| |=|| =|
= |+= | |=|| =| ||-||-|= +i--|| = i-| -|=-|
+||| |ir-|| | ||| -i|=: r| ||| , |r |-|| || |-|
||-||| i-|i-|- r| , .-|= |:||| | =|||- =
=| , .| |-|| -| |=|| | i||| -| r| || , i||
||| + |=|| -|| - +-i- = i-| |: |i:| |-|| :-
|-|| -|-| -|r|| i=|| i= +-| -|-| =| =|; |-|||-|| -|r| r
, || ++| = -|=+ r|-| , ||-|r| , ||| -|| ,
| |=|| -||| |i|= =i=-||; -| r , -| -|-| >|;| |=
-|i:=| = ||| r-|-||-| =| -|=|||i=| -| ||-|-| ,
-|r||| i|:|:|-| = -||-| + = ||| ||i+- =-| =|
-|=|:r-| - || |-|||| = +||| = +--|=| =|
+-|| =| , |=|| +|--| r | ;|= i-| | -=|-| := r | , -|| :i -|| .-|=| | || | -| = |i-
-|| r| | , |r ||-||| =| ||- r i= ||| = i-| r-| +=z-| = ||| |=|| =| |=| =|| r|-| || r| || ,
||-|:|| -|+ -| ||-| -|| i-|-| ||| , |+ i|||| = || -|
||; -| =-| ||i+- r|-| = == -||r +| |=|| +-||
= , ||-| + =-||| -|||-| | |||= ||| -||-| =
+-|| =| ||; -|-| | | , |r :-||| r i= |=|| =|
i-| -|-| = +|| -|| =| -|r| i=|| , r |- , |r| -=
+|i||i= |||-| |=| -|r| || , ||| i= +|| || , +-||
i= ||= -|| , -| ||i||| || -|:|-| -|=+ i: | ,
= +i- r|i:= +-| = ||||: .|= ||| i|||: r| r| ||-|
;| +=| |-| -| -|r||| i|:|:|-| =-| |= z||
|| , ||| = -||-|-| -| -|| ;| =| i||| :|| -|r| || ,
= ||: |-|||r = ||| |-| r| , |= -|= -|r|||
+|-| ||| || , i||=| |--| i|||r = =; ||| ||: r| ,
.| |-|| .+i|- | | |r -+|| = +||- .-r|-| -|
|=|| |r- +|--| | , i=- |r =|| -+=|i-|= r| || ,
-| =-||| .-r| | r|| |;|| + i-|-|| +-- i=|| ,
:| --||-| || =| || -| .| ||i-|=| =| i-|-||i-||| r|
|||- | -|| = =; +i-i=- =-||=| |=|| | i-|-|-| | || +=| =| i|i=|| -|i||| = ||||: .| |||||
= i-| |-| -|| , >|| -||||i|r +=|||| , +-|== -|r| || |=| , ;| i|i- -| .-r ||- =-|| -|| =i=-| r|
+=|||| , + =|+= || , .|-||,|-| =| )-|-|| } , ||| , -|r||| i|:|:|-| =| -|| = ||-|-| |== =| |
. -|| =| ||r| , >|| ||r-|-||-| , >|| ||||= -|| | -|-|| +||-|| =| i= i=| +|+ =| ||| -|:| i-|-|
||+ ||-| = =; =|= |r| |- | , ;-| +i-i=- r| r , |=|| -|r||| i|:|:|-| =| +|| +i-i:-| i=||
i||-|| = |+|| i||| -i|-|| | -| |z| -||-||i-|- r|-| =- | ,
|| , |= ||-||-| || = || == i:-|| -= +-| -||; =
== ||| ||: |=|| =| = ++ r| , .-|=| =|| =|
||| r | .-|=| ++| =||=-||| = i||| =| :=-|
+| -|r| || , ||-|= ||-| -| +i--|| =| |-|| || ,
=| -|:| ||-||| i-|-|| , i||| =| |i- | ;|= i-|
-|| -|||| ||-|-| | +r-| r| |r :|+-|-| =| +| ==|
i: || r |-|| | -| ||||i=- r| ||-| , =-| =
||-|-| -||| || , :| --|-| || =| || -| r| |r |=|| =
||- ||-||| | |=|| -||||-| = i-| +i- r , ;|
+|| |= ||-| , |i= |=|| +-| i||| =| i||| :-
+=| |= ||-||-| || = ||| r i||| -i|-|| |
| , |i: i|| |-|-| =-| ||| -|-| |= ||-| , -| |r
-|-|-||-|| =| |--| r| , ||| -|-|-|| , -|-| -i+|||
||-|= +-|| -|||||| r=| | |- =-| , |r ||-| -|
| -||i|=|-||-|| .-|=| +-|| i-|i-|i- || , .-r|-| ||
||||-|= || , |r ||-+|| || =| || -| -|-||
i|-| |-| =| |i =| , | r - -|-||| --||ir-|| ,
|||-| -||| || , |=|| -|r| |||- , | || -| -|-|
ir-|| -.;| , =|-| -:r-| | -||=-|||| ,
=| -|r| ||-| -| ||-|= ==| |:-| :-| ,
=|i-||| -:-|-| , r|-|| -|| :|+:| |+r| , -|
|=|| i=|| =|||| ||; =|z= +-| +i|| = |||
=||-| | || i|| |z| |- =r| ||-| r , |r |=||
r-|:|||: |-| | , |r| |r ||-|= |=|| =| =: |-|
=| |i r , =-| -| |-|||-| -| |i- | -
||| , == r| -|r|-|| -| |=|| -| =|=| |-| =-|||| |
z| |-||-| |-= | -| z-| -| -|=| ,
|-|: | +|i||i= |||-| i|-| r | , +-| || =
z||-||-= -| -|| -|| :== |:||| i:|| i= -|
-||| + .-r|-| +-|| +-|| | ++ =| ||| -|| i:|| ,
-|=-|= -i|- -|i| =|-|| -| ||= , .| |-||
|r| ::| | = :|-|| || , ++ =- -| -|-| -||| =
z||-||-= -|i| =|-|| = i+i|+-| | , -| ||i||| -|
i-| ||| , |r| .| |+ -| z| i-||| , i=|| +=| =|
;| |:||| =| |-||-| i=|| | -|:| -|i| =|-|| ||-| =|
i|i=|| = +| r| |r ||-|= ;| ||| | |-| ||| ,
|-||r :| , |-| -| |=|| -|:| =|z-| =| -|| -|r| | ,
|=|| =| |-|| |+=| -||| | |-- | +-||
i=- ||: -| =r| - || -||r-| , -| |=|| -|=-|=
|--|-| r =| |= , .-r|-| ||: -| -|:| |-|||| i= | |=
||-| | -| --r =| |= |=-| r , |i: --| ||-| -| ||-||
-|r||| i|:|:|-| =| i|+ =|-| | i|+=| i:||r|| r|
||r- r| , -| -|| -|-|i- r , --| |z -|||||-| r| , -
= |-|| =- | , |=|| = -|-|| +||r-|-||-| -| ||
-| |- , =| -|=-|= = i-| ||-|| r| ||| ,
|-|| , -| | |=|| | .-|=| +-|| =| -|:|| -| | ,
i|:|; =| ;| |-|| -| || -|-| |=|| = || = , -| | |
+||r-|-||-| -| i=--| ||- -| =| -||-| =-|||| || |
+z , |r :| || -|| -|| |=| = ||-|-| r , ||i=
.-|= -|| ||-|| | ||-+|| = ||- ||-||| |
|=|| ||||-| + =z | | i-||r|| -|| |
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.-|= -|| =| |||c =|z-|| +z| , | , || .-r|-| +-| +-|| i|||-| || , |||= .-|| =| = , || |||-
-|| =| ||||- ||-|-| |- :=| , -| .-|= |-|: =| i-|:|= | , || -|||- -||||-| | |i:|| =| = +|
i==|-|| -| r| , ||-| -| |r |-|:|>|+| +-|i-|-|-| || , -||| | i-|-| ||-| || , -|| :i -| |=|| =| >|= ||
|= ||-||-| -| .-r |-| -||| i-||| | |-|| -|||-|| =| , -||-|= =i- || - ||| -=| ||-| --|| , ;|-| .-r|-|
|=|| -| +-| -|| =| || +| =- r =r| - i+| || -||||-| =| = =+ -| -|| i=|| | ||| || ||-| ,
-||-| || -|| r| , |r = = i-| r| r| , |i: |+ |||| + || +|-| -| i|-|i|- -|r| |-| r| || | .||
-|:| z|- -|r| , -| -|:| +-| i|:||-| |||| +:||+||: = ||| -|| |-| r| , |r -|r| || -|| -| =|-|| -|
| ||=-| =| || =-|| -|r| i-|-|-| , |||||r| =| -|| || r| r , |r .= |i:| +|- =|= | |- +
|r ||-|= +|--|-| r i= |=|| ||+| | | | |r |||i- || , ;|= +||- |=|| -| =-|| i=|| = |||
-|| +:||+||: | i||| +|- = , ||| i= ||| ||r| ||-| -|| -|r| i=|| , .-|=| -| |i:|| -| r - i|i-|--|
=| |-||| || , .-r|-| = i:-| |=|| =| +-| :|| = -||i|=|| =| |- , i|-|-| i-|||i=| |- =| |z|
= |r- +||| -|i-| = i|=: =z| = i:|| | +||| r; , ;| i|i| |- = ||=-| = i-| i|r||-
;=| += =| i= |=|| +|-| |-|: -| r| |-| + .-r =|= -||||-|| -|z-| -|-|=| -| .-r =z|-|| i|- +-||
+|- = , |r = |r- |z| |:| ||, i=- |=|| -| ||| -| |-|i+- i=|| ,
;| i||||| = .-|: =| =-|| :| || +|- = i:||
|r .--|=-||| r i= +||| |ir-|| = -||| + =||=-|
, |=|| =| -|r|-| .+-|i| + |||||r| -| +|--|-| +=
= |-| -| ||| --i- | ||| -+| -|||-| =| +|-
=| | .-|=| -|i --|i +||| =| , |=|| =| -|
-| |=|| -| i=|| , -|:| -|| -= -|| r i= i|+| -|
=-||-|= .+-|i| || , i=|| -|-| -i||| = = ||--|
.--||| -||+|| =| -|-| -| i-||; = |i:| =| +-i- -|
= ||| |-||-| -| +| i|+ i=- =-| =| .-|=| |-|-| ,
|=-| +:|-| i=|| ,
-|:| || | :| |-|||=|| +:|-| :=-| =| ||-||| i-|-||
+||| |ir-|| =| -|| =||=-| )i-||||-} |=|| =
r , ||i= |=|| -| -|-|-|-| -| |-| | |-| -= r|||
|i|- ++||- =|= -|| = ||| r|-| || , ;| ||| -|
=| i|+ i=- i=|| , i||-| | |- ||| ||r| -| =
||-| |z i|-||: | |-|-| r i= i=| +=| |=|| ||
|| |=|| =| :|:| -|-| -| r||| i=- =-| =| |-||-|
|-|- ||r|| = +i||-||=+ = |- =| i-|-||| r| ,
:| , .-r ||| || i= |=|| +|= r ||| , +||i= =
||-| -| |=|| =| ++||- =|= |-|| -| ||-||
-||+|| -| r||| i=- =-|| +|| |-|| || , i=-
)=|=|} -|| +| =-| = i-| -|-||-|| ||r| , ||-| -|
|=|| -| |-||-| ||=| =| | :|:| =| i|-|i|- -|| -|
|=|| | =r| - |=|| , +|| r-|| +|||-| -| |+ ||-||
== r||| i=- = ||=| ||||i=- = i:|| ,
-|r| -||| |=- r |=|| -| ||-|| =| |-|- |
|| |=|| -| |||c =|z| , -| || |=|i|r -| .-|=|
-||||| | =r| - || , i|--|| ||-|| ) -|| } =r| ,
r|i:= +|i- =| | .-|=| .+-|i||| = i-| i-|i=-
.--|| ||-||)-|| -i|-|i|-} -||| |=-| r , =r| -|
+|i- -++ +:|-| i=|| , -|-| |=|| = +|| |r +|i-
i|-|i|- -|| -| |- -||| , ||-| -| -|-|| i=|| i=
-++ :=| r , |||c -| || +|- =-| = ||: |=|| |-|
|=|| -| |: =| |-|- | -| i-||| r , i=- |r |r
- - -| || | | | +-| |||| +:||+||:
||-|-| =| .|= || i= |=|| +|| =- r , .|-| |=||
= |:| + .-r|-| == i||| =| +i||| :-|| |-|
=| |- |-||-| = i-| +i- i=|| , ;| +=| ||||||
i=|| , .-|=| +|-| i|| || - i|r||- =|i|+| ||i|-||
i|| -|- =| |--| r| , || +-| c| =| = r| |- r ,
-|||z =| |ir-| >||-|-| |-||i-|-||:|| , .|= ||: ||
||| | := =| ||- |r r i= =| ||- +|| :||
i|r||- +||| |ir-| - ||-| , i|+| | -|-| , +||| |ir-||
|||| -|r| r-| , i=|| |-|-=r-|| = =|| |=|| =|
= |+= | |=|| =| ||-||-|= +i--|| = i-| -|=-|
+||| |ir-|| | ||| -i|=: r| ||| , |r |-|| || |-|
||-||| i-|i-|- r| , .-|= |:||| | =|||- =
=| , .| |-|| -| |=|| | i||| -| r| || , i||
||| + |=|| -|| - +-i- = i-| |: |i:| |-|| :-
|-|| -|-| -|r|| i=|| i= +-| -|-| =| =|; |-|||-|| -|r| r
, || ++| = -|=+ r|-| , ||-|r| , ||| -|| ,
| |=|| -||| |i|= =i=-||; -| r , -| -|-| >|;| |=
-|i:=| = ||| r-|-||-| =| -|=|||i=| -| ||-|-| ,
-|r||| i|:|:|-| = -||-| + = ||| ||i+- =-| =|
-|=|:r-| - || |-|||| = +||| = +--|=| =|
09
Pt. SHAMBHU MAHARAJ
Mohanrao Kalyanpurkar
Maharaj Bindadeen, uncle of Shambhu Maharaj, and the revered patriarch of the
Lucknow gharana was well-known for his abhinaya, so much so that his name has
become synonymous with abhinaya in Kathak. He was short in stature and not
strikingly handsome. But it is said that the gestures of his eyes and hands during
the performance of his abhinaya created illusions' that were incredible. There is a
legend that when he performed in the Nathdwara temple, the entire congregation
prostrated itself before him. When Maharaj Bindadeen appeared before them in
the posture of Krishna holding the flute, they saw him as a vision of the Lord
Himself. Such was the spell of his abhinaya.
The most spontaneous and handsome tribute to this, great dancer comes from
none other than the distinguished philosopher of art, Ananda Coomaraswamy. In
his Notes on Indian Dramatic Technique, published in 1914, he writes,
"I have never seen, nor do I hope to see," better acting than I saw once in Lucknow,
when an old man . a poet and dancer and a teacher of many, many dancing
girls . sang a Herd-Girl's 'complaint to the mother of Krishna'. This famous dancer
whose name is Bindaeen, is a devout Brahman . Thus, before an audience of
pupils and neighbours, this old man sat on the ground and sang his poem. Picking
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|=|| -| ||i- -|-|| =| , .-r|-| +-|| +-|| = -||; =| = | | , |r| .+i|- = -|i-| -| -|= -|r||| |
+i||| :-|| |-| i=|| , |r ||-|= ||| r| -|:|| = -|=-|= ||-| = i-| == +|: =r , |=|| -| .|
=-||=|| = i-| |=|| =| =: |-| ||| , +i--||||-| |-||-|| :| | ==|| , i=- |r |=|| + r| i||z
||-| -=-||=| =| = |-|||r -| >||-|i- ||-| ||-| +z| , |=|| -| .| |-- .=| i-||| | +-|| -||r ||r|
|| ||-| - |= =| .+|i| :| |;, -| |=z i-||| , .| |i- =| |= | ||-| i-|=-| |; ,
.-|r--|: =| | = -| |i- i|--|| | .|
=|-| = =|-| r||| -| +-| |=|| =| .i-|- = i:|| ,
=|z-| = i-| =r| , -| |=|| -| .| =|z| , ||: -| .|-|
;| ||-|= =| = +||-| =-| -| =| =||| | || +=|
|=|| | -||=| -|||| | .-|| -|-|| -|| ||=| ,
=| i|i=|| = ||||: |r ||-| -|= -|| ;| :i-||| | .=
||| , r|i:= ||:-|| | |=|| =| |-||-|| || |=| , |=|| ||=|-| -|||- = | , .-r =| =|-|| +|: || ,
-||| |r ||| i|i|--| =| || , =-||-=-|| | || -|| =|-|| +=|- | , ||| ||| -| |
i|--|-| = |:| | | :|--|-| +=| =| i|--|-| -||
|| +||r-|-||-| | -|-| |r || |-|| , -| .-r | |=||
=-| =| -|:| -|| i||| :| || ,
=| i-|=| i= |=|| -||-|| =-||-=: -| |= =| +:
||=| = , |r| |= |-| -|r||| | i|| -|r||| ;|-| |:r -|r| i= |=|| >|= i||= | | i=|| +=|
=|| = r r , +||r-|-||-| | -| ||-|| -||| = = -|:--||| = i|-|| i||| :- | , ||| | +i>|-|| =|+|
||: |=|| ||| r | |-||- |-| - -| -||-|| =| |r- == i-|-|-| || , |r| |=|| =z | , |r| =|+| =
=-||-= : -| | , |-| c -| .-r +i- || -|| +:i|- =- | , | i=|| -|| |:||| =| , ||r
|||---||=-=|:-|| =| |+i--+=| i-|-|| | |r =|+ =| r| r| , i=||-=+ := .|=| +||| =-|
;| +=| + :||+||: =| -|i||||| || i|; r;, =| -|| r- | , .-|= =; i||| -| -|| -| r||i- +|-
=| r ,
-||-|| =-||-=: -| | ||: -| =|=-=: -| , i||=|
||+-|| |||: |-| -| r; , |=|| -| ||-| -| |r- |= -|r||| i|:|:|-| = +i- .-|=| >|;| || , |
= i|| -|| i= , ||=| -||-| |-|-|| -| -| i-| .-|=| =|| =| i:-| -| :| || +|| =- | | -||
|-|| -|r| , i=- ;-|-| +-|= r - .-|| |-|| , .i-|-|| -||| , |c|- | , .-r|-| || -|| ||-| i=|| , .|=| >|| |
|-|| =|| , |:||-||-| , :||-||-| , |-|+=|| ;||i: , -|r||| i|:|:|-| =| :- | , = || ||; -| .| |,| -|
|| -|| |; , i||+ i|:|:|-| -|r||| =| i|+ =| || ,
-|-| -|-|| i=|| i= i:--|| -| |= =| |r =+ -|r| || , ||
=|| =| =-| |-| ||| , i=- =|| |i|- r| , |=|| -|
+r-| || , | |:| .:|| r- , i=- +i||| -| .-|=|
|||| i= .-|= |= -|r||| .-|+ -|||| r , - .-r|-|
.||r +||- || , | =z i||= | | =-||-=-|| i||
+-| | =| ||-||-| :|-| -| : i:|| , || -| =-| +r|| , -|
=| =z| i||| :- | , | == r| +=| i|| r , i|-r
:=| i= | ||-|-|i-|||-| +r-| |= -|r||| = =|| =
.-r|-| -| +|| r| , -| || = ||| =r |=-| r i= -| .-|-| |
|| |= | r | , || || .-|=| |=--|i-
= r | |-||- >|| =:-|-||-| | -|= = >||
r|||-||-| -|| ;| i+|; | || |= , =|= -|| = |+ -| |=|| =| |:|-| --| r , i=-
.| +i|- -||-|-| -|r| i-|-|| , -|-| .-|=| .+-|i||| =|
|=|| +-|| |||i= |i- + || =- | | |r ||||
||-| i=|| r , |-| c -| |=|| ==z = =| |
|| -|r| || , = || r-| ||; -| = ||i|= +:|-||
+|iz- r | || +=| =| i|i=|| = ||||: c -|; ,
:=-| | , |=|| = +=z-+||| -|||-| = +i-
c =| .-|=| :r||||-| r| ||| , ;| +=| = -|r|-|
|= r , .-r|-| =|| :| | -|||-| =| +| |i- |
=-||=| , >|= |= , i+| |i-| , = i-|=||-| i||
|-|-| = i-| ;iz= =| ||| = i:|| , .-r|-| -|||-| =
= |||-| =| |||-| r| ||| , | -|r|-| |= .-|= i|||
+-|| || =r| - -|:| +-| :|-|| r||| =| +||| =-|
| i|=| = i-| |:| -|||| r| | +=--| =+ -|
:|i| , -| |+=| -|||-| ||=; -|z :|| , -|| i|||| r
.-|=| -||| +|- =- r| ,
i= | ||| = -|| :- , = r| -|i-+r| -| -||i|-| -|z
:-|| .-|= i-| =-| || , = || r-| .-|r--|: =| ||r|
09
Pt. SHAMBHU MAHARAJ
Mohanrao Kalyanpurkar
Maharaj Bindadeen, uncle of Shambhu Maharaj, and the revered patriarch of the
Lucknow gharana was well-known for his abhinaya, so much so that his name has
become synonymous with abhinaya in Kathak. He was short in stature and not
strikingly handsome. But it is said that the gestures of his eyes and hands during
the performance of his abhinaya created illusions' that were incredible. There is a
legend that when he performed in the Nathdwara temple, the entire congregation
prostrated itself before him. When Maharaj Bindadeen appeared before them in
the posture of Krishna holding the flute, they saw him as a vision of the Lord
Himself. Such was the spell of his abhinaya.
The most spontaneous and handsome tribute to this, great dancer comes from
none other than the distinguished philosopher of art, Ananda Coomaraswamy. In
his Notes on Indian Dramatic Technique, published in 1914, he writes,
"I have never seen, nor do I hope to see," better acting than I saw once in Lucknow,
when an old man . a poet and dancer and a teacher of many, many dancing
girls . sang a Herd-Girl's 'complaint to the mother of Krishna'. This famous dancer
whose name is Bindaeen, is a devout Brahman . Thus, before an audience of
pupils and neighbours, this old man sat on the ground and sang his poem. Picking
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|=|| -| ||i- -|-|| =| , .-r|-| +-|| +-|| = -||; =| = | | , |r| .+i|- = -|i-| -| -|= -|r||| |
+i||| :-|| |-| i=|| , |r ||-|= ||| r| -|:|| = -|=-|= ||-| = i-| == +|: =r , |=|| -| .|
=-||=|| = i-| |=|| =| =: |-| ||| , +i--||||-| |-||-|| :| | ==|| , i=- |r |=|| + r| i||z
||-| -=-||=| =| = |-|||r -| >||-|i- ||-| ||-| +z| , |=|| -| .| |-- .=| i-||| | +-|| -||r ||r|
|| ||-| - |= =| .+|i| :| |;, -| |=z i-||| , .| |i- =| |= | ||-| i-|=-| |; ,
.-|r--|: =| | = -| |i- i|--|| | .|
=|-| = =|-| r||| -| +-| |=|| =| .i-|- = i:|| ,
=|z-| = i-| =r| , -| |=|| -| .| =|z| , ||: -| .|-|
;| ||-|= =| = +||-| =-| -| =| =||| | || +=|
|=|| | -||=| -|||| | .-|| -|-|| -|| ||=| ,
=| i|i=|| = ||||: |r ||-| -|= -|| ;| :i-||| | .=
||| , r|i:= ||:-|| | |=|| =| |-||-|| || |=| , |=|| ||=|-| -|||- = | , .-r =| =|-|| +|: || ,
-||| |r ||| i|i|--| =| || , =-||-=-|| | || -|| =|-|| +=|- | , ||| ||| -| |
i|--|-| = |:| | | :|--|-| +=| =| i|--|-| -||
|| +||r-|-||-| | -|-| |r || |-|| , -| .-r | |=||
=-| =| -|:| -|| i||| :| || ,
=| i-|=| i= |=|| -||-|| =-||-=: -| |= =| +:
||=| = , |r| |= |-| -|r||| | i|| -|r||| ;|-| |:r -|r| i= |=|| >|= i||= | | i=|| +=|
=|| = r r , +||r-|-||-| | -| ||-|| -||| = = -|:--||| = i|-|| i||| :- | , ||| | +i>|-|| =|+|
||: |=|| ||| r | |-||- |-| - -| -||-|| =| |r- == i-|-|-| || , |r| |=|| =z | , |r| =|+| =
=-||-= : -| | , |-| c -| .-r +i- || -|| +:i|- =- | , | i=|| -|| |:||| =| , ||r
|||---||=-=|:-|| =| |+i--+=| i-|-|| | |r =|+ =| r| r| , i=||-=+ := .|=| +||| =-|
;| +=| + :||+||: =| -|i||||| || i|; r;, =| -|| r- | , .-|= =; i||| -| -|| -| r||i- +|-
=| r ,
-||-|| =-||-=: -| | ||: -| =|=-=: -| , i||=|
||+-|| |||: |-| -| r; , |=|| -| ||-| -| |r- |= -|r||| i|:|:|-| = +i- .-|=| >|;| || , |
= i|| -|| i= , ||=| -||-| |-|-|| -| -| i-| .-|=| =|| =| i:-| -| :| || +|| =- | | -||
|-|| -|r| , i=- ;-|-| +-|= r - .-|| |-|| , .i-|-|| -||| , |c|- | , .-r|-| || -|| ||-| i=|| , .|=| >|| |
|-|| =|| , |:||-||-| , :||-||-| , |-|+=|| ;||i: , -|r||| i|:|:|-| =| :- | , = || ||; -| .| |,| -|
|| -|| |; , i||+ i|:|:|-| -|r||| =| i|+ =| || ,
-|-| -|-|| i=|| i= i:--|| -| |= =| |r =+ -|r| || , ||
=|| =| =-| |-| ||| , i=- =|| |i|- r| , |=|| -|
+r-| || , | |:| .:|| r- , i=- +i||| -| .-|=|
|||| i= .-|= |= -|r||| .-|+ -|||| r , - .-r|-|
.||r +||- || , | =z i||= | | =-||-=-|| i||
+-| | =| ||-||-| :|-| -| : i:|| , || -| =-| +r|| , -|
=| =z| i||| :- | , | == r| +=| i|| r , i|-r
:=| i= | ||-|-|i-|||-| +r-| |= -|r||| = =|| =
.-r|-| -| +|| r| , -| || = ||| =r |=-| r i= -| .-|-| |
|| |= | r | , || || .-|=| |=--|i-
= r | |-||- >|| =:-|-||-| | -|= = >||
r|||-||-| -|| ;| i+|; | || |= , =|= -|| = |+ -| |=|| =| |:|-| --| r , i=-
.| +i|- -||-|-| -|r| i-|-|| , -|-| .-|=| .+-|i||| =|
|=|| +-|| |||i= |i- + || =- | | |r ||||
||-| i=|| r , |-| c -| |=|| ==z = =| |
|| -|r| || , = || r-| ||; -| = ||i|= +:|-||
+|iz- r | || +=| =| i|i=|| = ||||: c -|; ,
:=-| | , |=|| = +=z-+||| -|||-| = +i-
c =| .-|=| :r||||-| r| ||| , ;| +=| = -|r|-|
|= r , .-r|-| =|| :| | -|||-| =| +| |i- |
=-||=| , >|= |= , i+| |i-| , = i-|=||-| i||
|-|-| = i-| ;iz= =| ||| = i:|| , .-r|-| -|||-| =
= |||-| =| |||-| r| ||| , | -|r|-| |= .-|= i|||
+-|| || =r| - -|:| +-| :|-|| r||| =| +||| =-|
| i|=| = i-| |:| -|||| r| | +=--| =+ -|
:|i| , -| |+=| -|||-| ||=; -|z :|| , -|| i|||| r
.-|=| -||| +|- =- r| ,
i= | ||| = -|| :- , = r| -|i-+r| -| -||i|-| -|z
:-|| .-|= i-| =-| || , = || r-| .-|r--|: =| ||r|
11
When a critic questions him about his apathy towards the terms of the mudras, he said; "When I do the
abhinaya for any thumri or bhajan, my aim is to convey to you the rasa and the bhavas of the
composition. Once I succeed in doing this, I feel I have nothing to do with the names of the mudras. I
term the gestures which are used by me are spontaneous and natural."
To him the execution of abhinaya was more important than the knowledge of the names of the mudras
he had used, because he believed in the total impact of his interpretation on his audience. He
considered this the quintessence of the art of abhinaya. But he was not against the terms and teaching
their proper meaning and use to the new generation of pupils. "You must certainly teach the names of
the mudras to your pupils because it is a good thing to possess such knowledge", he said to me once
and then added humorously, "If now, at this stage, I think of learning the names, I think I will forget my
abhinaya just as the centipede forgot how to crawl in trying to count the number of its feet."
It is well-highly impossible to put on paper the subtle nuances of his nain bhava and to describe in detail
his abhinaya. But we can catch a glimpse of its salient features, using as a concrete example his
favourite thumri koun gali gayo Shyam.
"Tell me, my friend, which path (gali) my Shyam took. I have searched (for him) in Gokul and i have
searched (for him) in Vrindavan (and now) at Mathura it is evening (getting dark)."
This is how he began his abhinaya:
One. Koun-raising the left eye-brow; gali-tracing an imaginary path-way with the eyes from over the
right shoulder to the far corner of the hall; gayo-raising the body and the head a little and looking far
away in that direction; Shyam a slight movement of the neck (sundari greeva).
Two. Koun -raising the right eye-brow, simultaneously tilting the head very slightly; gali-tracing a path
as before but from the left to the right corner of the hall; gayo-raising the body and the head and
craning the neck to look into the distance in a searching movement; Shyam-the same neck movement
with a slight frown to show disappointment.
Three. Koun-raising both the eye-brows with a slight upward jerk of the head; gali-tracing with the eyes
a winding path from the near front to the far end of the hall; gayo raising the body slightly supported
by the right hand and looking far ahead with a searching expression and a slight frown,
Shyamdrooping eye-lids and a slow tilting down of the head to express, utter disappointment.
Words fail to describe the finer shades of the nain bhava. One had glimpses of the subtle nuances of
anxiety, disappointment, impatience, touching pathos, abject helplessness and anger at the sakhi's
reluctance to divulge the secret of his movements.
After the nain bhava which never failed to send the audience into raptures, he proceeded with the kara
bhava, which I will describe by trying to identify the mudras he used. It goes without saying that all the
hand gestures were in harmony with the emotions expressed on the face.
One. Koun-alapadma with the right hand; gali-soochi hasta with the same right hand pointing to the
imagined gali; gayo Shyam - a searching look and placing both hands in the ardhachandra mudra close
to each other over the head to denote the crown (mukut).
Two. Koun- both the hands in pataka, stretched out slightly in the direction of the sakhi; gali-describing
a winding path in front with both hands in the pataka mudra, and the hands facing each other; gayo
Shyam-looking straight ahead with one hand in arala above the head, facing outwards and the other
near the lips to suggest the flute.
Three. A further elaboration of the theme was suggested thus: The sakhi was questioned. The hands
pointed in various directions to say:
"Is this the gali?" "No!!"
"Then it may be this one?" "No!!"
"Sure enough it must be this?" "No!!"
To show the exasperation of the questioner he lightly tapped the back of his right hand on the palm of
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up a scarf, he used it as a veil and no one could have remembered that he was anything but a shy and
graceful young girl, telling a story with every sort of dramatic gesture of the hand and eyes. She told
how Krishna had stolen the butter and the curds, what pranks he played, of his love-making and every
sort of naughtiness. Every feature of the face, every movement of the body and hands was intentional,
controlled, hieratic; not all his own devotion to Krishna spoiled his art to the least degree."
One had only to watch the performance of Shambhu Maharaj, the nephew of the great maestro
Maharaj Bindadeen to experience the truth of what Ananda Coomaraswamy wrote, what he sought to
communicate when he described the exquisite abhinaya of Maharaj Bindadeen. The older generation
of Lucknow, who were closely associated with Maharaj Bindadeen and had seen him perform on a
number of occasions, maintained that Shambhu Maharaj had inherited the great mimetic powers of
his uncle. They also said that he could lend to his abhinaya, the same aesthetic grandeur and artistic
excellence that his uncle did.
Maharaj Bindadeen died when Shambhu Maharaj was a mere child of eight and so he could not impart
his art directly to his nephew. Shambhu Maharaj was, therefore, entirely trained by his illustrious elder
brother Achchan Maharaj, whom he held in the highest esteem. Later Shambhu Maharaj was able to
carve a distinctive style of his own which was more in
tune with his own dynamic personality. His style bore
the stamp of his own genius. He excelled in abhinaya
and even his guru paid a tribute to him for his
achievement in this sphere.
Shambhu Maharaj was tall and handsome. He had a
sinewy figure and chiselled features. A broad
forehead, well-marked eyebrows, large and eloquent
eyes and sensuous lips were ideal assets and he used
them to advantage in his abhinaya. It was his practice
to begin his abhinaya performance with a recital of
the text of the composition; then he went on to do the
abhinaya. He had a well-trained voice, rich and
melodious. He modulated it to suit the purpose of the
words and with such a charming effect that he could
immediately establish a rapport with his audience
and communicate to his listeners the basic mood of
the song. The abhinaya prooer began with the varied
and suggestive use of his eloquent eyes and mobile
face. This he called nain bhava. The term is perhaps
not a strictly academic one but the effect it created on the audience was really amazing. The illustration
of the nine rasas with just the use of the eyes is not new to abhinaya. I have witnessed artists in other
styles perform it with rare skill. A slight digression will illustrate the power that lies latent in the eyes.
There is that beautiful shloka of Adi Shankaracharya in Soundarya-Lahari, describing the Rasa Drishti.
"Oh Mother! Thy gaze is soft with love towards Shiva; full of disgust towards other people; furious
towards Ganga; expressive of wonder at Girisha's life career; full of dread (when
confronted) with the snakes (ornaments) of Hara; victorious over the beautiful colour of the lotus;
smiles on thy sakhis; and is full of compassion towards me."
The nine rasas, Shringara, Bibhatsa, Raudra, Adbhuta, Bhayanaka, Veera, Hasya, and Karuna are
described as they express themselves in the Mother's gaze.
Shambhu Maharaj's nain bhava was followed by a further elaboration of the bhavas, with the use of
hand gestures which he called kara bhava. Though he employed a large number of those prescribed in
the ancient texts, he did not make a fetish of terminology. But one had no doubt that he used all the
Head Gestures, Eye Gestures, Eyebrow Gestures, Neck Gestures, almost all the One-hand Gestures and
a large number of the Combined-hand Gestures of the texts.
His beautiful eyes
remained open even in death.
Perhaps even Death was
so fascinated by
their appeal that
it did not have
the heart to close them.
11
When a critic questions him about his apathy towards the terms of the mudras, he said; "When I do the
abhinaya for any thumri or bhajan, my aim is to convey to you the rasa and the bhavas of the
composition. Once I succeed in doing this, I feel I have nothing to do with the names of the mudras. I
term the gestures which are used by me are spontaneous and natural."
To him the execution of abhinaya was more important than the knowledge of the names of the mudras
he had used, because he believed in the total impact of his interpretation on his audience. He
considered this the quintessence of the art of abhinaya. But he was not against the terms and teaching
their proper meaning and use to the new generation of pupils. "You must certainly teach the names of
the mudras to your pupils because it is a good thing to possess such knowledge", he said to me once
and then added humorously, "If now, at this stage, I think of learning the names, I think I will forget my
abhinaya just as the centipede forgot how to crawl in trying to count the number of its feet."
It is well-highly impossible to put on paper the subtle nuances of his nain bhava and to describe in detail
his abhinaya. But we can catch a glimpse of its salient features, using as a concrete example his
favourite thumri koun gali gayo Shyam.
"Tell me, my friend, which path (gali) my Shyam took. I have searched (for him) in Gokul and i have
searched (for him) in Vrindavan (and now) at Mathura it is evening (getting dark)."
This is how he began his abhinaya:
One. Koun-raising the left eye-brow; gali-tracing an imaginary path-way with the eyes from over the
right shoulder to the far corner of the hall; gayo-raising the body and the head a little and looking far
away in that direction; Shyam a slight movement of the neck (sundari greeva).
Two. Koun -raising the right eye-brow, simultaneously tilting the head very slightly; gali-tracing a path
as before but from the left to the right corner of the hall; gayo-raising the body and the head and
craning the neck to look into the distance in a searching movement; Shyam-the same neck movement
with a slight frown to show disappointment.
Three. Koun-raising both the eye-brows with a slight upward jerk of the head; gali-tracing with the eyes
a winding path from the near front to the far end of the hall; gayo raising the body slightly supported
by the right hand and looking far ahead with a searching expression and a slight frown,
Shyamdrooping eye-lids and a slow tilting down of the head to express, utter disappointment.
Words fail to describe the finer shades of the nain bhava. One had glimpses of the subtle nuances of
anxiety, disappointment, impatience, touching pathos, abject helplessness and anger at the sakhi's
reluctance to divulge the secret of his movements.
After the nain bhava which never failed to send the audience into raptures, he proceeded with the kara
bhava, which I will describe by trying to identify the mudras he used. It goes without saying that all the
hand gestures were in harmony with the emotions expressed on the face.
One. Koun-alapadma with the right hand; gali-soochi hasta with the same right hand pointing to the
imagined gali; gayo Shyam - a searching look and placing both hands in the ardhachandra mudra close
to each other over the head to denote the crown (mukut).
Two. Koun- both the hands in pataka, stretched out slightly in the direction of the sakhi; gali-describing
a winding path in front with both hands in the pataka mudra, and the hands facing each other; gayo
Shyam-looking straight ahead with one hand in arala above the head, facing outwards and the other
near the lips to suggest the flute.
Three. A further elaboration of the theme was suggested thus: The sakhi was questioned. The hands
pointed in various directions to say:
"Is this the gali?" "No!!"
"Then it may be this one?" "No!!"
"Sure enough it must be this?" "No!!"
To show the exasperation of the questioner he lightly tapped the back of his right hand on the palm of
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up a scarf, he used it as a veil and no one could have remembered that he was anything but a shy and
graceful young girl, telling a story with every sort of dramatic gesture of the hand and eyes. She told
how Krishna had stolen the butter and the curds, what pranks he played, of his love-making and every
sort of naughtiness. Every feature of the face, every movement of the body and hands was intentional,
controlled, hieratic; not all his own devotion to Krishna spoiled his art to the least degree."
One had only to watch the performance of Shambhu Maharaj, the nephew of the great maestro
Maharaj Bindadeen to experience the truth of what Ananda Coomaraswamy wrote, what he sought to
communicate when he described the exquisite abhinaya of Maharaj Bindadeen. The older generation
of Lucknow, who were closely associated with Maharaj Bindadeen and had seen him perform on a
number of occasions, maintained that Shambhu Maharaj had inherited the great mimetic powers of
his uncle. They also said that he could lend to his abhinaya, the same aesthetic grandeur and artistic
excellence that his uncle did.
Maharaj Bindadeen died when Shambhu Maharaj was a mere child of eight and so he could not impart
his art directly to his nephew. Shambhu Maharaj was, therefore, entirely trained by his illustrious elder
brother Achchan Maharaj, whom he held in the highest esteem. Later Shambhu Maharaj was able to
carve a distinctive style of his own which was more in
tune with his own dynamic personality. His style bore
the stamp of his own genius. He excelled in abhinaya
and even his guru paid a tribute to him for his
achievement in this sphere.
Shambhu Maharaj was tall and handsome. He had a
sinewy figure and chiselled features. A broad
forehead, well-marked eyebrows, large and eloquent
eyes and sensuous lips were ideal assets and he used
them to advantage in his abhinaya. It was his practice
to begin his abhinaya performance with a recital of
the text of the composition; then he went on to do the
abhinaya. He had a well-trained voice, rich and
melodious. He modulated it to suit the purpose of the
words and with such a charming effect that he could
immediately establish a rapport with his audience
and communicate to his listeners the basic mood of
the song. The abhinaya prooer began with the varied
and suggestive use of his eloquent eyes and mobile
face. This he called nain bhava. The term is perhaps
not a strictly academic one but the effect it created on the audience was really amazing. The illustration
of the nine rasas with just the use of the eyes is not new to abhinaya. I have witnessed artists in other
styles perform it with rare skill. A slight digression will illustrate the power that lies latent in the eyes.
There is that beautiful shloka of Adi Shankaracharya in Soundarya-Lahari, describing the Rasa Drishti.
"Oh Mother! Thy gaze is soft with love towards Shiva; full of disgust towards other people; furious
towards Ganga; expressive of wonder at Girisha's life career; full of dread (when
confronted) with the snakes (ornaments) of Hara; victorious over the beautiful colour of the lotus;
smiles on thy sakhis; and is full of compassion towards me."
The nine rasas, Shringara, Bibhatsa, Raudra, Adbhuta, Bhayanaka, Veera, Hasya, and Karuna are
described as they express themselves in the Mother's gaze.
Shambhu Maharaj's nain bhava was followed by a further elaboration of the bhavas, with the use of
hand gestures which he called kara bhava. Though he employed a large number of those prescribed in
the ancient texts, he did not make a fetish of terminology. But one had no doubt that he used all the
Head Gestures, Eye Gestures, Eyebrow Gestures, Neck Gestures, almost all the One-hand Gestures and
a large number of the Combined-hand Gestures of the texts.
His beautiful eyes
remained open even in death.
Perhaps even Death was
so fascinated by
their appeal that
it did not have
the heart to close them.
13
following with her eyes the patterns of the galis made by the smoke and asking the same question
koun gali gayo Shyam. Shambhu Maharaj executed this particular bhava with such rare skill that
it invariably brought tears to the eyes of the audience and even Shambhu Maharaj himself seemed
visibly moved.
He did not dwell at length on the last two lines of the song. Gokul was shown by the milking of the cows
and the churning of the curds while dhoondi was shown by gestures suggesting a frantic search.
Vrindavana was depicted by maidens walking down the ghats of the Jamuna for water. Mathura was
identified with the ruling Kamsa by a gesture suggesting his moustaches and an arrogant look. Ho gayi
sham - the rising of the sun, tracing its path through the sky with the eyes or the hand and ending with
the sunset shown by closing of the eyes, lighting an oil lamp and setting out to search for the foot-prints
of Shyam.
Thus ended the magnificent performance. One marvelled at the depth of his conception and the
picturesque elegance with which he demonstrated through bhavas. The lingering warmth seemed to
cling to you for days on end.
Another favourite of his was Madho kahi na jat dukh Brijake which described the plight of the helpless
gopis of Braj when Lord Krishna left them and stayed at Mathura. Uddhava was sent by Krishna to Braj
to pacify the gopis and teach them the philosophy of Brahman. Uddhava returned to Mathura,
converted to the philosophy of love. In this song he narrates the pangs of separation experienced by
the gopis and other beings in Braj. I still recall that evening in Lucknow when Shambhu Maharaj sang
those lines. On this particular occasion his abhinaya reached such heights that not a single individual in
the audience could hold back his tears. The great maestro himself was so visibly moved that he had to
bring the performance to an abrupt stop.
In his younger days he preferred to render these songs: Kisne chilman se mara nazara mujhe; Tan-e-
mareez me dam ka shumar baki hai; Chale aiho Kanha Jamuna kinare mero gaon; Nikas chalbe tum ko
laike sanwariya and present their meaning through his abhinaya. These songs used to be considered as
commonplace verses by many performers. But the genius of Shambhu Maharaj and his artistic
brilliance lent them a refined meaning and a new dignity. Once a connoisseur chided him for choosing
such songs. Shambhu Maharaj was hurt by such criticism. He considered it a challenge and with the
superb abhinaya accompanying Chale aiho Kanha Jamuna kinare mero gaon he won the acclaim of the
accuser.
Shambhu Maharaj was a master of abhinaya. But he was also as adept in the nritta aspect of the Kathak
style of dance. His execution of the various bols such as the amad, paran and paramelu bore the stamp
of his distinctive style and individuality. He had improvised hastakas for the traditional bols and they
were both picturesque and graceful. He always tried to avoid speed in performance and laid greater
stress on precision in the co-ordinated movements of the body, arms, hands, head and eyes,
accompanied, of course, with the correct timing of the foot-work. All his compositions had a lyrical
form and extraordinary grace. Every movement had the right accent which highlighted the particular
syllable of the bol and the combination of all movements helped to emphasise the beauty of the
complete bol.
He visualised the bol as a personality and then conceived appropriate hastakas to suit its character.
Thus, for the parans which are composed of heavy and forceful pakhawaj syllables, he always
employed vigorous movements and for some of the soft sounding natawari bols he used exceedingly
light and fragile movements which matched their temper.
When he introduced these innovations, he always sought the sanction of his eldest brother, Guru
Achchan Maharaj who, in turn, invariably showed his approval by a word of praise and appreciation.
Here are some of the bols which he himself danced, adding to them a personal touch. He also taught
them to his pupils.
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his left or on the right thigh as if to say,
"Oh! How can I ever find Him if you keep on deceiving me thus?"
All these gestures he used to combine with the line bata do gunya, cajoling the friend, beseeching her
with folded hands, touching her feet humbly and then showing her own annoyance because the friend
has turned a deaf ear to all her entreaties.
The next step was to emphasise the various ways of searching for Him.
(I) Parting the low branches of a tree to get a better view (pataka hands both turned outwards).
(ii) Removing an object which obstructed the view - a vertical pataka turned outwards and moved
away from the line of vision by the other hand with sarpashirsha mudra.
(iii) Looking over a hedge or a small parapet - placing both pataka hastas one hand exactly over the
other with the tips of the middle finger of one hand touching the wrist of the other hand and kept
parallel to the ground just below the line of vision. Slowly raising the head as if looking over it.
(iv) Holding the branches of a tree on the right with both hands - the right hand in the mushtimudra
turned outwards, and raised above the head and the left also in a similar mudra held a little
below,near about the right shoulder, searching intently from the left to the right. Then followed a
detailed description of Shyam.
(a) Shyam with his long curly hair - both hands in the soochi hasta, slowly moving down the temples to
the shoulders, the stretched finger making revolving movements.
(b) Who wears the mukut - with the ardhachandra hands as described earlier.
(c) Dark as the cloud - both pataka hands, palms down held high above the head, describing the
movement of the cloud.
(d) Who wears the Vaijayanti Mala - showing the spot where the garland is and with the right hand in
mrigashirsha mudra.
(e) Who wears armlets - placing the armlets in their proper places and tightening them. The string is
held in the teeth and the bead provided is moved towards the arm with the hamsasya hasta.
(f) Who wears wristlets - the wristlets are fastened by tightening the clasps provided with the
hamsasya hasta.
(g) Who wears the peetambara - describe the tying of the peetambara.
(h) And finally, Shyam, who plays on the flute - both hands near the lips (to the right) in arala mudra.
Then Shambhu Maharaj went on to describe sanchari bhavas. This was his forte. He had such a deep
perception and such imaginative gifts that their depiction was really exquisite.
(i) "Has his beautiful form reached another heart through (the gali of) the eyes? " Both the hands with
hamsasya mudra pointing downwards, moving down from the front of the eyes towards the heart.
(ii) "Has he captivated somebody's heart like sweet perfume?"
Applying the perfume on the back of the hand and inhaling it.
(iii) "Has he entered another heart as the melody of his flute through the ears?"
(iv) "Has he become as attached to another gali as the sindur is to the parting of the hair?"
(v) "Has he become attached to a gali like the kajal or surma to the eye?"
Sanchari bhavas were then enacted by comparing the wearing of the various ornaments of the ear,
nose, bangles on the wrists and the finger-rings on the fingers to the entering and adorning a
gali by Shyam. Shambhu Maharaj continued to unfold the bhavas, making each one more appealing
than the previous one. The crowning bhava was expressed thus: the death of a person, the laying of
the body on the funeral pyre, the breaking of the bangles, the removing of all ornaments and washing
off the sindur by his wife to suggest widowhood, the lighting of the pyre, the sorrowing women
13
following with her eyes the patterns of the galis made by the smoke and asking the same question
koun gali gayo Shyam. Shambhu Maharaj executed this particular bhava with such rare skill that
it invariably brought tears to the eyes of the audience and even Shambhu Maharaj himself seemed
visibly moved.
He did not dwell at length on the last two lines of the song. Gokul was shown by the milking of the cows
and the churning of the curds while dhoondi was shown by gestures suggesting a frantic search.
Vrindavana was depicted by maidens walking down the ghats of the Jamuna for water. Mathura was
identified with the ruling Kamsa by a gesture suggesting his moustaches and an arrogant look. Ho gayi
sham - the rising of the sun, tracing its path through the sky with the eyes or the hand and ending with
the sunset shown by closing of the eyes, lighting an oil lamp and setting out to search for the foot-prints
of Shyam.
Thus ended the magnificent performance. One marvelled at the depth of his conception and the
picturesque elegance with which he demonstrated through bhavas. The lingering warmth seemed to
cling to you for days on end.
Another favourite of his was Madho kahi na jat dukh Brijake which described the plight of the helpless
gopis of Braj when Lord Krishna left them and stayed at Mathura. Uddhava was sent by Krishna to Braj
to pacify the gopis and teach them the philosophy of Brahman. Uddhava returned to Mathura,
converted to the philosophy of love. In this song he narrates the pangs of separation experienced by
the gopis and other beings in Braj. I still recall that evening in Lucknow when Shambhu Maharaj sang
those lines. On this particular occasion his abhinaya reached such heights that not a single individual in
the audience could hold back his tears. The great maestro himself was so visibly moved that he had to
bring the performance to an abrupt stop.
In his younger days he preferred to render these songs: Kisne chilman se mara nazara mujhe; Tan-e-
mareez me dam ka shumar baki hai; Chale aiho Kanha Jamuna kinare mero gaon; Nikas chalbe tum ko
laike sanwariya and present their meaning through his abhinaya. These songs used to be considered as
commonplace verses by many performers. But the genius of Shambhu Maharaj and his artistic
brilliance lent them a refined meaning and a new dignity. Once a connoisseur chided him for choosing
such songs. Shambhu Maharaj was hurt by such criticism. He considered it a challenge and with the
superb abhinaya accompanying Chale aiho Kanha Jamuna kinare mero gaon he won the acclaim of the
accuser.
Shambhu Maharaj was a master of abhinaya. But he was also as adept in the nritta aspect of the Kathak
style of dance. His execution of the various bols such as the amad, paran and paramelu bore the stamp
of his distinctive style and individuality. He had improvised hastakas for the traditional bols and they
were both picturesque and graceful. He always tried to avoid speed in performance and laid greater
stress on precision in the co-ordinated movements of the body, arms, hands, head and eyes,
accompanied, of course, with the correct timing of the foot-work. All his compositions had a lyrical
form and extraordinary grace. Every movement had the right accent which highlighted the particular
syllable of the bol and the combination of all movements helped to emphasise the beauty of the
complete bol.
He visualised the bol as a personality and then conceived appropriate hastakas to suit its character.
Thus, for the parans which are composed of heavy and forceful pakhawaj syllables, he always
employed vigorous movements and for some of the soft sounding natawari bols he used exceedingly
light and fragile movements which matched their temper.
When he introduced these innovations, he always sought the sanction of his eldest brother, Guru
Achchan Maharaj who, in turn, invariably showed his approval by a word of praise and appreciation.
Here are some of the bols which he himself danced, adding to them a personal touch. He also taught
them to his pupils.
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his left or on the right thigh as if to say,
"Oh! How can I ever find Him if you keep on deceiving me thus?"
All these gestures he used to combine with the line bata do gunya, cajoling the friend, beseeching her
with folded hands, touching her feet humbly and then showing her own annoyance because the friend
has turned a deaf ear to all her entreaties.
The next step was to emphasise the various ways of searching for Him.
(I) Parting the low branches of a tree to get a better view (pataka hands both turned outwards).
(ii) Removing an object which obstructed the view - a vertical pataka turned outwards and moved
away from the line of vision by the other hand with sarpashirsha mudra.
(iii) Looking over a hedge or a small parapet - placing both pataka hastas one hand exactly over the
other with the tips of the middle finger of one hand touching the wrist of the other hand and kept
parallel to the ground just below the line of vision. Slowly raising the head as if looking over it.
(iv) Holding the branches of a tree on the right with both hands - the right hand in the mushtimudra
turned outwards, and raised above the head and the left also in a similar mudra held a little
below,near about the right shoulder, searching intently from the left to the right. Then followed a
detailed description of Shyam.
(a) Shyam with his long curly hair - both hands in the soochi hasta, slowly moving down the temples to
the shoulders, the stretched finger making revolving movements.
(b) Who wears the mukut - with the ardhachandra hands as described earlier.
(c) Dark as the cloud - both pataka hands, palms down held high above the head, describing the
movement of the cloud.
(d) Who wears the Vaijayanti Mala - showing the spot where the garland is and with the right hand in
mrigashirsha mudra.
(e) Who wears armlets - placing the armlets in their proper places and tightening them. The string is
held in the teeth and the bead provided is moved towards the arm with the hamsasya hasta.
(f) Who wears wristlets - the wristlets are fastened by tightening the clasps provided with the
hamsasya hasta.
(g) Who wears the peetambara - describe the tying of the peetambara.
(h) And finally, Shyam, who plays on the flute - both hands near the lips (to the right) in arala mudra.
Then Shambhu Maharaj went on to describe sanchari bhavas. This was his forte. He had such a deep
perception and such imaginative gifts that their depiction was really exquisite.
(i) "Has his beautiful form reached another heart through (the gali of) the eyes? " Both the hands with
hamsasya mudra pointing downwards, moving down from the front of the eyes towards the heart.
(ii) "Has he captivated somebody's heart like sweet perfume?"
Applying the perfume on the back of the hand and inhaling it.
(iii) "Has he entered another heart as the melody of his flute through the ears?"
(iv) "Has he become as attached to another gali as the sindur is to the parting of the hair?"
(v) "Has he become attached to a gali like the kajal or surma to the eye?"
Sanchari bhavas were then enacted by comparing the wearing of the various ornaments of the ear,
nose, bangles on the wrists and the finger-rings on the fingers to the entering and adorning a
gali by Shyam. Shambhu Maharaj continued to unfold the bhavas, making each one more appealing
than the previous one. The crowning bhava was expressed thus: the death of a person, the laying of
the body on the funeral pyre, the breaking of the bangles, the removing of all ornaments and washing
off the sindur by his wife to suggest widowhood, the lighting of the pyre, the sorrowing women
15
Our artists have
identified beauty with
the infinite glory of God; and
so the expressions of
beauty have been
religious in nature.
To dance is ecstasy symbolised a
dedication to the Supreme, and
thus dance became an
essential part of the puja.
DANCE SEMINAR 1958
Sangeet Natak Akademi
AN ANALYTICAL STUDY
Mohanrao Kalyanpurkar
KATHAK
Kathak is the classical dance form of Northern
India. Though it is prevalent all over this region,
its two main centres are considered to be
Lucknow in Uttar Pradesh and Jaipur in
Rajasthan. Its origins are said to be as old as the
Aryan civilisation of the north, but it is difficult
to say precisely when and how it took its
present form.
In ancient India dance was considered not only
the visual expression of intoxicated energy or
an entertainment for those who wished to be
amused, but an image of the activity of God.
Our artists have identified beauty with the
infinite glory of God; and so the expressions of
beauty have been religious in nature. To dance
is ecstasy symbolised a dedication to the
Supreme, and thus dance became an essential
part of the puja. In Shiva Manas puja, we come
across a shloka:
a+ -|+|+ -+ -|:-+ |-++
+|| +| +:+ +| +| +|- - - -|
|-|+ .|- -|-+ |+|- +- +|
+-+- +|+-+ -+ |+ | +| +| .|
(2)
Temples became elaborate structures with a
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Amad:
Amad is a Persian word which means advent or coming. This piece consists of a set pattern of natawari
syllables preceded by a traditionally accepted pakhawaj paran. The following amad was a special
favourite of Shambhu Maharaj. He provided extremely graceful movements with enough scope to
cover a large area of the stage.
Here is another amad in which he deviated a little from the convention that every syllable of the bol
must be produced by the feet. He gave this conventional amad lines as well as postures which were
very refreshing.
Paramelu:
Paramelu is a piece in which syllables, seemingly of various percussion instruments, are combined with
the natawari bols. Some of conventional syllables used are - jaga jaga, thudanga, dhetam, thoonga-
noonga, dhilanga, jhan-jhan, etc.
Natawari:
Natawara is an epithet used to describe Lord Krishna. The word means "the best among the dancers". It
stems from a legend: when Krishna subdued the monster-serpent Kaliya and danced on his hoods, the
syllables ta, theyi, and tat were produced. Hence all the bols composed of these syllables and their
derivatives, digdig, tigdha, tram, are classed as natawari
Paran:
Pieces composed exclusively of the pakhawaj syllables are termed, parans. This paran was a great
favourite of Shambhu Maharaj.
I was associated with him for thirty years, starting from 1 939. I had the good fortune of witnessing
many of his innumerable performances. I revered him as my guru and he had a great affection for me as
his pupil.
As a person, he was very impulsive and believed in intense and moment-to-moment living. There was a
commanding, an almost arrogant note in his form of speech. This was in contrast to the other side of his
nature which was gentle and loving. His mother and his eldest brother were often hurt by his
overbearing manner and prodigal ways.
I will always remember the last performance at Lucknow in 1969 when he performed in my house. He
was ailing and looked very weak and tired. But he agreed to dance because his friends pressed him to
do so. He started with the song Jamuna kinare aj Shyam ne sakhiyon ki chunariyan chheen layin. We
heard it for the first time then. His voice sounded feeble and his gestures lacked their usual force but
the interpretation carried the same spontaneity and dignity. His sanchari bhavas were full of the same
charm. We did not dream then that this would be his last performance.
Abhinaya had become almost second nature with him. Even on his death-bed. Just a few minutes
before he breathed his last, he was heard instructing his nephew Birju Maharaj how to render the
Bahut door ho pas ao tojanu, (You are too far away; come closer to me and I will recognise you). The line
can be interpreted in a myriad ways but it seemed as though he was addressing Death itself. Within a
few seconds he slumped on the pillow across his lap. His beautiful eyes remained open. Perhaps even
Death was so fascinated by their appeal that it did not have the heart to close them.
15
Our artists have
identified beauty with
the infinite glory of God; and
so the expressions of
beauty have been
religious in nature.
To dance is ecstasy symbolised a
dedication to the Supreme, and
thus dance became an
essential part of the puja.
DANCE SEMINAR 1958
Sangeet Natak Akademi
AN ANALYTICAL STUDY
Mohanrao Kalyanpurkar
KATHAK
Kathak is the classical dance form of Northern
India. Though it is prevalent all over this region,
its two main centres are considered to be
Lucknow in Uttar Pradesh and Jaipur in
Rajasthan. Its origins are said to be as old as the
Aryan civilisation of the north, but it is difficult
to say precisely when and how it took its
present form.
In ancient India dance was considered not only
the visual expression of intoxicated energy or
an entertainment for those who wished to be
amused, but an image of the activity of God.
Our artists have identified beauty with the
infinite glory of God; and so the expressions of
beauty have been religious in nature. To dance
is ecstasy symbolised a dedication to the
Supreme, and thus dance became an essential
part of the puja. In Shiva Manas puja, we come
across a shloka:
a+ -|+|+ -+ -|:-+ |-++
+|| +| +:+ +| +| +|- - - -|
|-|+ .|- -|-+ |+|- +- +|
+-+- +|+-+ -+ |+ | +| +| .|
(2)
Temples became elaborate structures with a
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Amad:
Amad is a Persian word which means advent or coming. This piece consists of a set pattern of natawari
syllables preceded by a traditionally accepted pakhawaj paran. The following amad was a special
favourite of Shambhu Maharaj. He provided extremely graceful movements with enough scope to
cover a large area of the stage.
Here is another amad in which he deviated a little from the convention that every syllable of the bol
must be produced by the feet. He gave this conventional amad lines as well as postures which were
very refreshing.
Paramelu:
Paramelu is a piece in which syllables, seemingly of various percussion instruments, are combined with
the natawari bols. Some of conventional syllables used are - jaga jaga, thudanga, dhetam, thoonga-
noonga, dhilanga, jhan-jhan, etc.
Natawari:
Natawara is an epithet used to describe Lord Krishna. The word means "the best among the dancers". It
stems from a legend: when Krishna subdued the monster-serpent Kaliya and danced on his hoods, the
syllables ta, theyi, and tat were produced. Hence all the bols composed of these syllables and their
derivatives, digdig, tigdha, tram, are classed as natawari
Paran:
Pieces composed exclusively of the pakhawaj syllables are termed, parans. This paran was a great
favourite of Shambhu Maharaj.
I was associated with him for thirty years, starting from 1 939. I had the good fortune of witnessing
many of his innumerable performances. I revered him as my guru and he had a great affection for me as
his pupil.
As a person, he was very impulsive and believed in intense and moment-to-moment living. There was a
commanding, an almost arrogant note in his form of speech. This was in contrast to the other side of his
nature which was gentle and loving. His mother and his eldest brother were often hurt by his
overbearing manner and prodigal ways.
I will always remember the last performance at Lucknow in 1969 when he performed in my house. He
was ailing and looked very weak and tired. But he agreed to dance because his friends pressed him to
do so. He started with the song Jamuna kinare aj Shyam ne sakhiyon ki chunariyan chheen layin. We
heard it for the first time then. His voice sounded feeble and his gestures lacked their usual force but
the interpretation carried the same spontaneity and dignity. His sanchari bhavas were full of the same
charm. We did not dream then that this would be his last performance.
Abhinaya had become almost second nature with him. Even on his death-bed. Just a few minutes
before he breathed his last, he was heard instructing his nephew Birju Maharaj how to render the
Bahut door ho pas ao tojanu, (You are too far away; come closer to me and I will recognise you). The line
can be interpreted in a myriad ways but it seemed as though he was addressing Death itself. Within a
few seconds he slumped on the pillow across his lap. His beautiful eyes remained open. Perhaps even
Death was so fascinated by their appeal that it did not have the heart to close them.
technique but also a most graceful and elegant expression of life spiritual.
After the Denise of Maharaj Bindadin in 1918 A.D., the burden of carrying on the tradition fell on his
three gifted nephews, the late Achchan Maharaj, Luchu Maharaj and Shambhu Maharaj and his
devoted pupils from Jaipur, late Pt. Jayalalji and his brother, Pandit Sunder Prasad. Besides the work of
these traditional dancers the efforts of late Madame Menaka and the late Maharaja of Raigarh to
popularise Kathak cannot be ignored.
Kathak performances as we see today, by various exponents, are varied in nature, not because their
technique differs basically but because this dance form weaned away from temple tradition, has
become more individualistic and spontaneous in nature. Much depends on the personality and
imagination of the performer.
Under an alien rule, Kathak has undergone some changes as in dress, terminology, and the mode of
execution also to some extent. It is really to be marvelled that in spite of the great cultural impacts, in
spite of the social and religious upheavals, Kathak dance has survived at all and that too with many of its
ancient traditions untouched.
Let us now turn to the practical side of the dance because it is here that you will see the true picture of
Kathak as it exists today. For the purpose of analysing I have made the three main divisions --- Nritta,
Nritya and Natya.
Nritta, as we all know, is a dance devoid of bhave and abhinaya- |+||-|- - --||+||+|-
says Abhinaya darpane. Whereas Dasarupaka puts it as --|+ -| |++. This is the pure and abstract
dance form of Kathak which brings out the beauty of rhythm in all nits aspects and forms the first part
of the dance. The various pieces of dance which are called boles are classified according to their
peculiarities and special features. The terms used for these classifications are as follows:
1) Ganeshvandana
2) Amad
3) That
4) Natwari
5) Parmelu
6) Paran
7) Sangeet
8) Kramalaya
9) Kavita.
Ganeshvandana: To offer salutation to Lord Ganesha, the dispeller of difficulties at the
commencement of ceremonies is a time honoured tradition. In Abhinaya- darpana, we find the sloka:
|+-- +||+ ++- -+| +|+|.|- In Sangeet Sar of Jaipur we are told - + |- + +- | + .+
+c|`o Ama `Wm`mo` Z` Hs{O`o Ganeshvandana is a composition in which dance boles are blended with
words in praise of Lord Ganesha. It was the first piece danced formerly by the Kathaks, but has fallen in
disuse.
DEMONSTRATION
Amad: Amad is an Urdu word which means advent or coming. It is composed of a characteristic
pattern of Natwari boles and hence is classified as Amad. The boles are -|; -- ; -|; -- ;-|; ;
; -- ---| Perhaps to make it more elaborate, a conventional pakhavaj piece or a parimelu piece is
prefixed to it:
DEMONSTRATION
Some are of the opinion that Amad is really a piece played on the Tabla to herald the coming of the
dancers for the performance.
Nata-mandapa as an integral part. Naturally a temple without its group of dancers and musicians was
inconceivable. The dancers were mainly devadasis or maidens dedicated to the service of God.
Temple sculptures of the North and the South testify to this practice which must have been prevalent
all over India. The relief panels of Khajuraho, Konarak, and Bhuvaneshwar, show scenes emphasising
the dancing by women. References are also found in the Sanskrit dramas and Kavyas about temple
dances. In the Meghadoota Kalidasa describes the dances in the Mahakala temple of Ujjain as follows:
+|:-| +|+---| -+||+-
-a|| |- +||- |-- -|
It is also significant that the Sanskrit texts on dramaturgy and dance give exclusively the requirements
of a female dancer, or the Patra. To quote Abhinaya Darpana:
--+| ++-| |+| +|-|---+||
.+-| | +|--| +-| ++|=|
|+-| |--| +|- +|-||-+|--|
+| +|+--| .-- +u +L>HOm &&
(3)
The word paturiawhich is obviously an apabhransha of the word Patral is still used by the folk people
of U.P. for a female dancer.
It is said that the teachers of these devadasis were a class of Brahmins who were expert musicians and
dancers attached to the temples. They were also excellent narrators and story tellers and used to
interpret the incidents from the Ramayana, Mahabharata, and the Puranas with gestures and music.
The Sanskrit word Kathaka or Kathika means a narrator or a story teller. The present kathaks who
incidentally happen to be Brahmins, explain the term Kathak as Kathan kare so Kathak kahaye.
Therefore, though definite historical proof is wanting we can infer that the Kathaks of today belong so
this age old tradition of temple musicians. The Kathak dance derives its name from the community of
Kashaks who are the custodians of the art, just as the chakiar kuthoo gets its name from the chakiar
caste.
The coming of Islam to India and the establishment of the Muslim rule had a profound impact on the
society and culture of the north. The practice of having female temple dancers was being discouraged.
Constant warfare had much demoralising effect on society. And besides, on the horizon was the
emergence of a new culture so unlike anything that had prevailed in the country. Therefore, the
synthesis of the two cultures was one to the most remarkable developments of the cultural history of
the country.
I disturbed times thereafter; the Kathaks completely took over the responsibility of serving the
presiding deity of the temple in the form of dance. In the temples of Ayodhya, such dancers could be
found till recently. Rai Umanath Bali, great pioneer in the field of musical education tells me that he has
witnessed the performances of a very high order of these Kathak dancers during the first decade of this
century. Incidentally, during my visit to Goa, I had an occasion to witness the performance by a
devadasi, and it was a pleasant surprise for me to find her dancing on a famous Thumri composition of
Maharaj Bindadin Kahe rokata dagar pyare. It shows how far and wide Kathak dance has travelled.
The services of the kathaks were requisitioned often by kings, nawabs, and the aristocracy, either for
mere amusement or to celebrate an occasion. In the course of time, some Kathaks invited to the
princely courts migrated to big cities to serve as court dancers. Thus kathak found its place in the courts
of the Nawabs of Oudh and in the palaces of the Rajas of Rajasthan. The most reputed of such Kathak
Families is that of Prakashji, which came to Lucknow during the reign of Nawab As af-ud-daula. His
grandson, the illustrious Maharaj Bindadin, was a contemporary of Nawab Wajid Ali Shah. He was an
unrivalled exponent of Kathak dance and his fame had spread far and wide over India. He was a deeply
religious soul, and had attained great spiritual heights. His dance thus displayed not only perfect
17
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technique but also a most graceful and elegant expression of life spiritual.
After the Denise of Maharaj Bindadin in 1918 A.D., the burden of carrying on the tradition fell on his
three gifted nephews, the late Achchan Maharaj, Luchu Maharaj and Shambhu Maharaj and his
devoted pupils from Jaipur, late Pt. Jayalalji and his brother, Pandit Sunder Prasad. Besides the work of
these traditional dancers the efforts of late Madame Menaka and the late Maharaja of Raigarh to
popularise Kathak cannot be ignored.
Kathak performances as we see today, by various exponents, are varied in nature, not because their
technique differs basically but because this dance form weaned away from temple tradition, has
become more individualistic and spontaneous in nature. Much depends on the personality and
imagination of the performer.
Under an alien rule, Kathak has undergone some changes as in dress, terminology, and the mode of
execution also to some extent. It is really to be marvelled that in spite of the great cultural impacts, in
spite of the social and religious upheavals, Kathak dance has survived at all and that too with many of its
ancient traditions untouched.
Let us now turn to the practical side of the dance because it is here that you will see the true picture of
Kathak as it exists today. For the purpose of analysing I have made the three main divisions --- Nritta,
Nritya and Natya.
Nritta, as we all know, is a dance devoid of bhave and abhinaya- |+||-|- - --||+||+|-
says Abhinaya darpane. Whereas Dasarupaka puts it as --|+ -| |++. This is the pure and abstract
dance form of Kathak which brings out the beauty of rhythm in all nits aspects and forms the first part
of the dance. The various pieces of dance which are called boles are classified according to their
peculiarities and special features. The terms used for these classifications are as follows:
1) Ganeshvandana
2) Amad
3) That
4) Natwari
5) Parmelu
6) Paran
7) Sangeet
8) Kramalaya
9) Kavita.
Ganeshvandana: To offer salutation to Lord Ganesha, the dispeller of difficulties at the
commencement of ceremonies is a time honoured tradition. In Abhinaya- darpana, we find the sloka:
|+-- +||+ ++- -+| +|+|.|- In Sangeet Sar of Jaipur we are told - + |- + +- | + .+
+c|`o Ama `Wm`mo` Z` Hs{O`o Ganeshvandana is a composition in which dance boles are blended with
words in praise of Lord Ganesha. It was the first piece danced formerly by the Kathaks, but has fallen in
disuse.
DEMONSTRATION
Amad: Amad is an Urdu word which means advent or coming. It is composed of a characteristic
pattern of Natwari boles and hence is classified as Amad. The boles are -|; -- ; -|; -- ;-|; ;
; -- ---| Perhaps to make it more elaborate, a conventional pakhavaj piece or a parimelu piece is
prefixed to it:
DEMONSTRATION
Some are of the opinion that Amad is really a piece played on the Tabla to herald the coming of the
dancers for the performance.
Nata-mandapa as an integral part. Naturally a temple without its group of dancers and musicians was
inconceivable. The dancers were mainly devadasis or maidens dedicated to the service of God.
Temple sculptures of the North and the South testify to this practice which must have been prevalent
all over India. The relief panels of Khajuraho, Konarak, and Bhuvaneshwar, show scenes emphasising
the dancing by women. References are also found in the Sanskrit dramas and Kavyas about temple
dances. In the Meghadoota Kalidasa describes the dances in the Mahakala temple of Ujjain as follows:
+|:-| +|+---| -+||+-
-a|| |- +||- |-- -|
It is also significant that the Sanskrit texts on dramaturgy and dance give exclusively the requirements
of a female dancer, or the Patra. To quote Abhinaya Darpana:
--+| ++-| |+| +|-|---+||
.+-| | +|--| +-| ++|=|
|+-| |--| +|- +|-||-+|--|
+| +|+--| .-- +u +L>HOm &&
(3)
The word paturiawhich is obviously an apabhransha of the word Patral is still used by the folk people
of U.P. for a female dancer.
It is said that the teachers of these devadasis were a class of Brahmins who were expert musicians and
dancers attached to the temples. They were also excellent narrators and story tellers and used to
interpret the incidents from the Ramayana, Mahabharata, and the Puranas with gestures and music.
The Sanskrit word Kathaka or Kathika means a narrator or a story teller. The present kathaks who
incidentally happen to be Brahmins, explain the term Kathak as Kathan kare so Kathak kahaye.
Therefore, though definite historical proof is wanting we can infer that the Kathaks of today belong so
this age old tradition of temple musicians. The Kathak dance derives its name from the community of
Kashaks who are the custodians of the art, just as the chakiar kuthoo gets its name from the chakiar
caste.
The coming of Islam to India and the establishment of the Muslim rule had a profound impact on the
society and culture of the north. The practice of having female temple dancers was being discouraged.
Constant warfare had much demoralising effect on society. And besides, on the horizon was the
emergence of a new culture so unlike anything that had prevailed in the country. Therefore, the
synthesis of the two cultures was one to the most remarkable developments of the cultural history of
the country.
I disturbed times thereafter; the Kathaks completely took over the responsibility of serving the
presiding deity of the temple in the form of dance. In the temples of Ayodhya, such dancers could be
found till recently. Rai Umanath Bali, great pioneer in the field of musical education tells me that he has
witnessed the performances of a very high order of these Kathak dancers during the first decade of this
century. Incidentally, during my visit to Goa, I had an occasion to witness the performance by a
devadasi, and it was a pleasant surprise for me to find her dancing on a famous Thumri composition of
Maharaj Bindadin Kahe rokata dagar pyare. It shows how far and wide Kathak dance has travelled.
The services of the kathaks were requisitioned often by kings, nawabs, and the aristocracy, either for
mere amusement or to celebrate an occasion. In the course of time, some Kathaks invited to the
princely courts migrated to big cities to serve as court dancers. Thus kathak found its place in the courts
of the Nawabs of Oudh and in the palaces of the Rajas of Rajasthan. The most reputed of such Kathak
Families is that of Prakashji, which came to Lucknow during the reign of Nawab As af-ud-daula. His
grandson, the illustrious Maharaj Bindadin, was a contemporary of Nawab Wajid Ali Shah. He was an
unrivalled exponent of Kathak dance and his fame had spread far and wide over India. He was a deeply
religious soul, and had attained great spiritual heights. His dance thus displayed not only perfect
17
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under Nritta because the rhythmic part predominates. It also forms a link between the Nritta and the
Nritya.
DEMONSTRATION
(Talapradhan, a variety in which tabla and pukhawaj boles are set to convey some meaning.)
We now come to the Nritya part of the dance. Nritya in Kathak is divided into two parts. One is called
gatkari and the other is known as arthabhava or simply bhavabatana. The word gat is derived from
the Sanskri word gati which means movement or gait. In gatkari, the bhava is expressed without the
accompaniment of song or words, and is hence a kind of MookAbhinaya.
There are four kinds of gats (i) Gat Nikas (ii) Gat Bhava (iii) Gat Prasang or choti gat ad (iv)Gat Leela or
Badi gat.
Gat Nikas- is predominantly a gat of Nritta variety but due to the rhythm being subordinate and a
suggestion of a bhava is expressed, it is classed under Nritya.
DEMONSTRATION
Gat Bhava: is a gat in which some definite bhava is expressed or some particular emotion is conveyed.
DEMONSTRATION
Gat Prasang or Choti gat: This depicts some incidents from Lord Krishnas life in an a bridged form:
DEMONSTRATION PanghatAnchal.
Gat Leela or Badi gat: narrates at length an episode from mythology.
DEMONSTRATION Girivar and Kaliyadaman.
Artha Bhava or Bhavabatana is abhinaya proper in Kathak. The various compositions on which
abhianya is performed are Dhrupad Thumri, Bhajan,Dadraand Ghazal.MaharajBidadin was the the
greates exponent of Abhinaya. A legend goes that when he depiced Lord Krishna holding his bansuri
the people saw a vision of the Lord himself an prostrated before him in reverence.
Dhrupad: are old composition of classical music which were used formerly for abhinaya.
Thumri: Is a composition which predominates in Shringar rasa. and is set to some classical raga, but the
style of singing has its own peculiarity. This style was an innovation of NawabWajid Ali Shah of
Lucknow.
DEMONSTRATION
We find a reference to this in Natyashastra on the Pravesh of a Patra after the Upavahana, to the
accompaniment of drums and other musical instruments has been performed.
That: That in general, means a decoration or a graceful attitude. In the execution of this the dancer
moves his limbs so slow in rhythm of the tal or decorates them with Lays. The eyes, eyebrows, neck,
shoulders, arms, chest and wrists move in perfect unison. Though it seems very simple, it is the most
difficult part of Nritta.
DEMONSTRATION
Natwari:Natwar is an epithet of Lord Krishna which means the best amongst dancers. It is a mythical
belief that when Lord Krishna subdued the great serpent Kaliya and danced on its hoods, the sounds Ta,
Thai and Tat were produced. It is perhaps due to this belief that all boles composed of syllables ta, thai,
tat and their derivations digidigi, tram, tigdha, are classed as Natwari by the Kathak Masters.
DEMONSTRATION
Parmelu: The term Paramelu is composed of the words para meaning different and mela meaning
Union. These compositions seem to be composed by cleverly blending the sounds of various
percussion instruments. They are however, to a certain extent, conventional syllables which are used in
Parmelu pieces and they are naggi, tharri, kuku jhanak, divanga, dhi-langa, Jhangara, Jagjag, thudang,
etc.
DEMONSTRATION
Paran: Next we come to a variety of compositions compiled exclusively of Pakhwaj boles. It is not clear
what exactly the word Paran means unless we agree that paran is a derivation from the word Pathanor
Padhantwhich means recitation. In Sangeet Ratnakar, one of the qualities of the teacer is given as
MukhavadyeshuKovvidan. Explaining this, the commentator says that the term Mukhavadya refers to
the recitation of the sounds produced on the Muraja. There are endless varieties of Parans but the
most interesting parans are the ones which portray the Yatis. There are 5 yatis pictures of patterns of
Laya. (i) Sama even (ii) Gopuchcha like the tail of a cow, beginning with slow and broad lays which
goes on tapering and ends in a jumble, (iii) Srotga a like a river fast and noisy in the beginning and
gradually becoming slow at the end (iv) Mridanga shaped like a Mridanga, tapering as both ends and
broad at the middle. (v) Pipilika or Damaru shaped like an ant on a damaru broad at both ends and
narrow in the middle.
DEMONSTRATION
Kramalaya: This is popularly known as tat-karkibadhat, or simply pair bajana. In this, the daner starts
with the basic Tatkar of the tala, e.g. ta thaitahi tat of trital. He proceeds to show different laya jatis and
in a fast extempore improvsation. This is a part of no doubt, but due to its special character it is classed
separately.
DEMONSTRATION: Bole laya jarab.
Sangeet: Opinions differ so much regarding this term that it is difficult to say what exactly it signifies. I
personally feel that when any dance bol, be it Natwari, Parmelu or paran, is recited in swaras it should
be called Sangeet. The late Maharaj Bindadin, in one of his compositions says Sangeet
nachattagunaharikitatatathaithai tram dheta.
In this tagunatharikita is Parmelu tatathaithaithai tram are Natwari and dheta is pukhawaj, which
makes my presumption more clear. The Rasdharis of Vrindavan recite all the dance boles set to a raga
which, in my opinion is the true from of Sangeet. Thus Sangeet is not a variety of bole but the mode of
musical recitation of any bole.
DEMONSTRATION
Kavita: Is a poem set to tal. Very often a natwar piece is affixed to it. The meaning is interpreted by
various gestures, while laya is marked by the feet. Though there is abhinaya evident in this, it is classed
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under Nritta because the rhythmic part predominates. It also forms a link between the Nritta and the
Nritya.
DEMONSTRATION
(Talapradhan, a variety in which tabla and pukhawaj boles are set to convey some meaning.)
We now come to the Nritya part of the dance. Nritya in Kathak is divided into two parts. One is called
gatkari and the other is known as arthabhava or simply bhavabatana. The word gat is derived from
the Sanskri word gati which means movement or gait. In gatkari, the bhava is expressed without the
accompaniment of song or words, and is hence a kind of MookAbhinaya.
There are four kinds of gats (i) Gat Nikas (ii) Gat Bhava (iii) Gat Prasang or choti gat ad (iv)Gat Leela or
Badi gat.
Gat Nikas- is predominantly a gat of Nritta variety but due to the rhythm being subordinate and a
suggestion of a bhava is expressed, it is classed under Nritya.
DEMONSTRATION
Gat Bhava: is a gat in which some definite bhava is expressed or some particular emotion is conveyed.
DEMONSTRATION
Gat Prasang or Choti gat: This depicts some incidents from Lord Krishnas life in an a bridged form:
DEMONSTRATION PanghatAnchal.
Gat Leela or Badi gat: narrates at length an episode from mythology.
DEMONSTRATION Girivar and Kaliyadaman.
Artha Bhava or Bhavabatana is abhinaya proper in Kathak. The various compositions on which
abhianya is performed are Dhrupad Thumri, Bhajan,Dadraand Ghazal.MaharajBidadin was the the
greates exponent of Abhinaya. A legend goes that when he depiced Lord Krishna holding his bansuri
the people saw a vision of the Lord himself an prostrated before him in reverence.
Dhrupad: are old composition of classical music which were used formerly for abhinaya.
Thumri: Is a composition which predominates in Shringar rasa. and is set to some classical raga, but the
style of singing has its own peculiarity. This style was an innovation of NawabWajid Ali Shah of
Lucknow.
DEMONSTRATION
We find a reference to this in Natyashastra on the Pravesh of a Patra after the Upavahana, to the
accompaniment of drums and other musical instruments has been performed.
That: That in general, means a decoration or a graceful attitude. In the execution of this the dancer
moves his limbs so slow in rhythm of the tal or decorates them with Lays. The eyes, eyebrows, neck,
shoulders, arms, chest and wrists move in perfect unison. Though it seems very simple, it is the most
difficult part of Nritta.
DEMONSTRATION
Natwari:Natwar is an epithet of Lord Krishna which means the best amongst dancers. It is a mythical
belief that when Lord Krishna subdued the great serpent Kaliya and danced on its hoods, the sounds Ta,
Thai and Tat were produced. It is perhaps due to this belief that all boles composed of syllables ta, thai,
tat and their derivations digidigi, tram, tigdha, are classed as Natwari by the Kathak Masters.
DEMONSTRATION
Parmelu: The term Paramelu is composed of the words para meaning different and mela meaning
Union. These compositions seem to be composed by cleverly blending the sounds of various
percussion instruments. They are however, to a certain extent, conventional syllables which are used in
Parmelu pieces and they are naggi, tharri, kuku jhanak, divanga, dhi-langa, Jhangara, Jagjag, thudang,
etc.
DEMONSTRATION
Paran: Next we come to a variety of compositions compiled exclusively of Pakhwaj boles. It is not clear
what exactly the word Paran means unless we agree that paran is a derivation from the word Pathanor
Padhantwhich means recitation. In Sangeet Ratnakar, one of the qualities of the teacer is given as
MukhavadyeshuKovvidan. Explaining this, the commentator says that the term Mukhavadya refers to
the recitation of the sounds produced on the Muraja. There are endless varieties of Parans but the
most interesting parans are the ones which portray the Yatis. There are 5 yatis pictures of patterns of
Laya. (i) Sama even (ii) Gopuchcha like the tail of a cow, beginning with slow and broad lays which
goes on tapering and ends in a jumble, (iii) Srotga a like a river fast and noisy in the beginning and
gradually becoming slow at the end (iv) Mridanga shaped like a Mridanga, tapering as both ends and
broad at the middle. (v) Pipilika or Damaru shaped like an ant on a damaru broad at both ends and
narrow in the middle.
DEMONSTRATION
Kramalaya: This is popularly known as tat-karkibadhat, or simply pair bajana. In this, the daner starts
with the basic Tatkar of the tala, e.g. ta thaitahi tat of trital. He proceeds to show different laya jatis and
in a fast extempore improvsation. This is a part of no doubt, but due to its special character it is classed
separately.
DEMONSTRATION: Bole laya jarab.
Sangeet: Opinions differ so much regarding this term that it is difficult to say what exactly it signifies. I
personally feel that when any dance bol, be it Natwari, Parmelu or paran, is recited in swaras it should
be called Sangeet. The late Maharaj Bindadin, in one of his compositions says Sangeet
nachattagunaharikitatatathaithai tram dheta.
In this tagunatharikita is Parmelu tatathaithaithai tram are Natwari and dheta is pukhawaj, which
makes my presumption more clear. The Rasdharis of Vrindavan recite all the dance boles set to a raga
which, in my opinion is the true from of Sangeet. Thus Sangeet is not a variety of bole but the mode of
musical recitation of any bole.
DEMONSTRATION
Kavita: Is a poem set to tal. Very often a natwar piece is affixed to it. The meaning is interpreted by
various gestures, while laya is marked by the feet. Though there is abhinaya evident in this, it is classed
B
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derives pleasure according to the force of individual experiences. Every one of the audience enjoys a
dance piece in his own way: like a Kamadhenu, it yields to the spectator just what he seeks from it or is
capable of understanding.
Skill in nritta has always been considered vital for the art of dance as besides its inherent beauty, its
knowledge is fundamental for the performance of good abhinaya expression.
In Kathak, the nritta aspect is predominant. The various pieces danced, bring out the beauty or rhythm
in all its forms.
These rhythmic compositions are called bolas.
The bolas have different features and compositional peculiarities. On the basis of this they are
classified into the following types:
1. Ganesha Vandana
2. Amada
3. Thata
4. Natwari
5. Paramelu
6. Paran
7. Kramalaya
8. Kavita
9. Toda
10. Tukada
11. Sangeet
12. Padhant
1: Ganesha Vandana: To offer salutation to Lord Ganesha, the dispeller of obstacles and difficulties, at
the commencement of ceremonies is time-honoured tradition. All religious ceremonies begin with the
chanting of Sri Ganeshaya Namah. Abhinaya Darpana advises the commencement of dance with
Praising Ganapati, the lord of muraja (drum) and the sky one should pray to the earth. (Introductory
benediction). The Sangeet Sara of Jaipur is more precise. It says : At the beginning of the dance, recite
compositions on Ganeshji and dance accordingly. Ganesha Vandana is a composition in which words
in praise of Lord Ganesha are blended with other dance bolas, the whole forming a rhythmic piece.
Formerly this was the first piece danced by Kathak dancers. It is interesting to see that this almost lost
tradition is being revived by the Kathak teachers of today.
Gang an ganapati gaja mukha mangala gita gida gita gida gita gida thun
thun tat tat thei jaya jaga vandana va kratu nda da ni dha ta
vigha naha rana, sukha kara, nadha gena dhage dhimi kita dhimi kita
thudan ga thudan ga dadhi gana thei thudan ga thudan -ga dadhi
gana thei thudan ga thudan ga dadhi gana thei.
2: Amada: Amada is a Persian word which means advent or coming. This piece is danced in the
beginning of the performance and is composed of a characteristic pattern of Natvari bolas and hence is
classed separately as amada. The natvari bolas used here are:
ta thei tat thei ta thei tat thei thei tatheita thei thei thei tat tat ta.
To make it more impressive perhaps, a conventional pakhawaj or paramelu is prefixed to it as follows.
dha ta ka thun ga dha ge di ge ta dha dhin ta ddhe tta kida dha ta kka
thum ga taki tata ka tita kata gadi gana ta thei tat thei ta thei tat thei
thei tathei ta thei thei tat tat ta.
The Technique of Kathak
Mohanrao Kalyanpurkar
Nritta by M.S. Kalyanpurkar
The concept of Art in India has in a sense been partly
formal, necessitated perhaps by the highly intellectual
and punctilious type of our ancient people. This is not
only true of dance but also of other forms of art. Just as
an Indian icon is neither a memory image nor an
idealisation but a visual symbolism, ideal in the
mathematical sense or instrumental music which
presents perfection of svara combinations: so also the
Nritta aspect of dance expresses certain rhythmic
pattern interpreted by the feet, hands and other limbs of
the body. In the Abhinaya Darpana nritta is considered
as pure dance:
Bhavabhinayahinam tunrittamityabhidhiyate
The Dasarupaka explains further:
Nrittam talayasrayam
Nritta is thus meant to convey a sense of pure joy of
movement and rhythm. But inspite of its abstract nature
it is not devoid of rasa as is often misunderstood, As in
instrumental music or alapa in vocal music, rasa lies in
the correct use of the svaras and their combinations. So
in nritta, the beauty lies in the correct rendering of the
rhythmic patterns by the feet and graceful movements
of the limbs. In such pure form of art, an appreciative
audience recreates the pieces in their own mind and
The concept of Art in India
has in a sense been
partly formal,
necessitated perhaps by the
highly intellectual and
punctilious type of
our ancient people.
21
derives pleasure according to the force of individual experiences. Every one of the audience enjoys a
dance piece in his own way: like a Kamadhenu, it yields to the spectator just what he seeks from it or is
capable of understanding.
Skill in nritta has always been considered vital for the art of dance as besides its inherent beauty, its
knowledge is fundamental for the performance of good abhinaya expression.
In Kathak, the nritta aspect is predominant. The various pieces danced, bring out the beauty or rhythm
in all its forms.
These rhythmic compositions are called bolas.
The bolas have different features and compositional peculiarities. On the basis of this they are
classified into the following types:
1. Ganesha Vandana
2. Amada
3. Thata
4. Natwari
5. Paramelu
6. Paran
7. Kramalaya
8. Kavita
9. Toda
10. Tukada
11. Sangeet
12. Padhant
1: Ganesha Vandana: To offer salutation to Lord Ganesha, the dispeller of obstacles and difficulties, at
the commencement of ceremonies is time-honoured tradition. All religious ceremonies begin with the
chanting of Sri Ganeshaya Namah. Abhinaya Darpana advises the commencement of dance with
Praising Ganapati, the lord of muraja (drum) and the sky one should pray to the earth. (Introductory
benediction). The Sangeet Sara of Jaipur is more precise. It says : At the beginning of the dance, recite
compositions on Ganeshji and dance accordingly. Ganesha Vandana is a composition in which words
in praise of Lord Ganesha are blended with other dance bolas, the whole forming a rhythmic piece.
Formerly this was the first piece danced by Kathak dancers. It is interesting to see that this almost lost
tradition is being revived by the Kathak teachers of today.
Gang an ganapati gaja mukha mangala gita gida gita gida gita gida thun
thun tat tat thei jaya jaga vandana va kratu nda da ni dha ta
vigha naha rana, sukha kara, nadha gena dhage dhimi kita dhimi kita
thudan ga thudan ga dadhi gana thei thudan ga thudan -ga dadhi
gana thei thudan ga thudan ga dadhi gana thei.
2: Amada: Amada is a Persian word which means advent or coming. This piece is danced in the
beginning of the performance and is composed of a characteristic pattern of Natvari bolas and hence is
classed separately as amada. The natvari bolas used here are:
ta thei tat thei ta thei tat thei thei tatheita thei thei thei tat tat ta.
To make it more impressive perhaps, a conventional pakhawaj or paramelu is prefixed to it as follows.
dha ta ka thun ga dha ge di ge ta dha dhin ta ddhe tta kida dha ta kka
thum ga taki tata ka tita kata gadi gana ta thei tat thei ta thei tat thei
thei tathei ta thei thei tat tat ta.
The Technique of Kathak
Mohanrao Kalyanpurkar
Nritta by M.S. Kalyanpurkar
The concept of Art in India has in a sense been partly
formal, necessitated perhaps by the highly intellectual
and punctilious type of our ancient people. This is not
only true of dance but also of other forms of art. Just as
an Indian icon is neither a memory image nor an
idealisation but a visual symbolism, ideal in the
mathematical sense or instrumental music which
presents perfection of svara combinations: so also the
Nritta aspect of dance expresses certain rhythmic
pattern interpreted by the feet, hands and other limbs of
the body. In the Abhinaya Darpana nritta is considered
as pure dance:
Bhavabhinayahinam tunrittamityabhidhiyate
The Dasarupaka explains further:
Nrittam talayasrayam
Nritta is thus meant to convey a sense of pure joy of
movement and rhythm. But inspite of its abstract nature
it is not devoid of rasa as is often misunderstood, As in
instrumental music or alapa in vocal music, rasa lies in
the correct use of the svaras and their combinations. So
in nritta, the beauty lies in the correct rendering of the
rhythmic patterns by the feet and graceful movements
of the limbs. In such pure form of art, an appreciative
audience recreates the pieces in their own mind and
The concept of Art in India
has in a sense been
partly formal,
necessitated perhaps by the
highly intellectual and
punctilious type of
our ancient people.
23
dance is composed on the same pattern as the todas for sitar, which are of a fixed pattern, with dara
dida dran dadida as bolas. Tukada is supposed to be a small piece of the natwari variety.
11: Sangeeta: When any dance bola, be it natwari, paramelu or paran , is recited in swaras it is called
Sangeeta. The late Maharaj Bindadin perhaps wanted to convey this idea when he says in one of his
padas: Sangeeta nachta taguna tharikita tatta thei thei tram dhetta , because in this taguna tharikita
is paramelu. tatta thei thei tram is natwari and dhettais part of a paran. The Rasadharis of Mathura
and Vrindavan recite all dance bolas of the Rasaleela set to a raga. In my opinion this is the true form of
sangeeta. Thus sangeeta is not veriety of bola but the mode of musical recitation of any bola.
12: Padhant: The word Padhant is derived from the Sanskrit word pathana meaning recitation. In a
Kathak performance the Guru, or the dancer himself, recites the bolas to be danced, marking time of
the tala with his hand claps. The essential points to be observed in padhant are, correct pronunciation,
accents and intonation of the bolas. In Sangeeta Ratnakara one of the qualities of a dance teacher
mentioned is, mukhavadyeshu kovidah. Explaining this the commentator says that the
mukhavadya means recitation of the sounds produced on the muraja (drum).
In the compositions of the various bolas use is made of jatis and yatis.
Jatis: Jatis are of five kinds: Chatasra, Tisra, Khanda, Misra and Sankeerna. The names signify the
kind of laya used. Chatasra is four beats of the bola coinciding with four of the tala. Tisra is three
beats coinciding with four of the tals. In khanda five beats coincide with four; in misra seven and in
sankeerna nine beats come within the timing of four beats.
Yatis: The Yatis are also five in number and they are visualised pattern of laya.
(I) Sama-even. (ii) Gopuchchha-like the tail of a cow , beginning with slow or broad laya which goes on
tapering and ends in a fast tempo. (iii) Srotangata-like a river fast and noisy in the beginning but
gradually becoming slower. (iv) Mridanga-shaped like a pakhawaj, tapering or fast at both ends and
broad in the middle. (v) Pipilika or Damaru-shaped like an ant or damaru. Broad at both ends and
narrow in the middle.
These jatis and yatis can be used in any type of composition.
The musical accompaniment to Nritta is called a lahara which is just a one - line musical piece. This in a
sense is monotonous as the same line is repeated over and over again, and serves more to mark the
time and has less musical value.
I have given a brief account of the Nritta in Kathak as it exists today. There is much scope for perfection
and innovations. New expressions are needed, but they should be introduced by the masters of the art,
who are well versed in the technique and are not lacking in imagination, for it needs a creative and
disciplined mind to produce such work. Experiments can be made at composing dances on themes like
trivat, chaturanga, tarana and sargam.
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Some people are of opinion that amada is a piece played as a rhythmic prologue on the tabla or the
pakhawaj just before the commencement of the dance. Though this theory is debatable, it cannot be
ignored.
3: Thata: Thata in general means decoration or a graceful attitude. These attitudes or postures are
taken (thata bandhana) before the amada is danced. Thata is used in another sense also as thata ka
baratna. In this the dancer stands with one hand held to the side and the other high and aloft , and
moves his eyes, eyebrows, neck, shoulders, arms, chest, and wrists to the accompaniment of slow
rhythm played on the tabla.
4: Natwari: Natwara is an epithet of Lord Krishna, which means the best among dancers. It is a belief
that when Natwara subdued the monster-serpent Kaliya and danced on its hoods, the sounds ta thei
and tat were produced. It is perhaps due to this belief that all bolas composed of syllables ta, thei, tat
and their derivatives such as digidigi, tram, tighda, are classed as Natwari by the Kathak Masters:
tigdha digidigi dig tho digidigi thei tata - ta thei ta thei tigdha thei tigdha
digidigi digtho digidigi thei tram thei tigdha digidigi digtho digidigi thei
tram thei tigdha digidigi digtho digidigi thei tram thei.
5: Paramelu: The term paramelu is composed of the two words para meaning different and mela
meaning union. The Paramelu pieces are composed by cleverly blending the sound syllables of various
percussion instruments such as nagara, pakhawaj, jhanj, mejeera, tasha, dapha etc. with natwari bolas.
The sound syllables however by use have become conventional and some of these are-thari, kuku,
jhanaka, divanga, dhilanga, jhangara, jagajaga, thudanga, jhangajhanga etc.
jaga jaga thari thari kuku thari naga thari dhimi kita taka naga thari
kita thun ga tharika tharika thari ka tanaga dhimiki tataka jagaja gajaga
thun-thun-thun ta-thun-ga-takathun -ga- dhimita thunga dhimiki tataka
jagana gathari dhimiki tataka theita theita thei theita theita thei theita
theita thei.
6: Paran: Next we come to a variety of compositions played exclusively on the pakhawaj. These are
called parans.These are forceful compositions and are danced with vigorous movements:
Kitataka thun-thun nati tac dha dinta kiddha dinta kati tadha dinta kat
Tita dhadin ta kidadhet - dha dinta kati tadha - thun - tadha kati tadha
Thun - ta dha kati tadha - thun - ta dha.
7: Kramalaya: This is popularly known as tatkar ki badhat or simply pair bajana. In this the dancer
begins with the basic tatkar of the tala. e.g. ta thei thei tat of tritala and then proceeds to show
different laya jatis, and ends in a fast laya. For the students there are set patterns, but the masters of the
art interpret with extempore improvisations. This should really form a part of the Natwari but due to its
exclusive character it is classed separately.
8: Kavita: Kavita is a poetic composition set to tala. The metres used usually are sawaiya,
ghanakshari, panch-chamara etc; very often a natwari piece is affixed to it. The meaning is
interpreted by various gestures, while laya is marked by the feet. Thought abhinaya is evident in these
compositions, it is classed under nritta because the rhythmic aspect is predominant:
mura liki dhuna suna bajata mri danga dhuna dhudhu kitadhudhu kita
dhuki tadhu kita thei tana taka rata utha hera taphe rata chita chan dracha
pala digidigi nadigi digina digidigi digidigi thodigi digitho digidigi digidigi
kdan kidta thei yaka thei kidta thei yaka thei kidta thei yaka thei.
9&10: Toda and Tukada: Nothing definite is known about these terms. Some use them in the sense of
the whole nritta performance when they say tode tukde nacho. Others are of opinion that toda in
23
dance is composed on the same pattern as the todas for sitar, which are of a fixed pattern, with dara
dida dran dadida as bolas. Tukada is supposed to be a small piece of the natwari variety.
11: Sangeeta: When any dance bola, be it natwari, paramelu or paran , is recited in swaras it is called
Sangeeta. The late Maharaj Bindadin perhaps wanted to convey this idea when he says in one of his
padas: Sangeeta nachta taguna tharikita tatta thei thei tram dhetta , because in this taguna tharikita
is paramelu. tatta thei thei tram is natwari and dhettais part of a paran. The Rasadharis of Mathura
and Vrindavan recite all dance bolas of the Rasaleela set to a raga. In my opinion this is the true form of
sangeeta. Thus sangeeta is not veriety of bola but the mode of musical recitation of any bola.
12: Padhant: The word Padhant is derived from the Sanskrit word pathana meaning recitation. In a
Kathak performance the Guru, or the dancer himself, recites the bolas to be danced, marking time of
the tala with his hand claps. The essential points to be observed in padhant are, correct pronunciation,
accents and intonation of the bolas. In Sangeeta Ratnakara one of the qualities of a dance teacher
mentioned is, mukhavadyeshu kovidah. Explaining this the commentator says that the
mukhavadya means recitation of the sounds produced on the muraja (drum).
In the compositions of the various bolas use is made of jatis and yatis.
Jatis: Jatis are of five kinds: Chatasra, Tisra, Khanda, Misra and Sankeerna. The names signify the
kind of laya used. Chatasra is four beats of the bola coinciding with four of the tala. Tisra is three
beats coinciding with four of the tals. In khanda five beats coincide with four; in misra seven and in
sankeerna nine beats come within the timing of four beats.
Yatis: The Yatis are also five in number and they are visualised pattern of laya.
(I) Sama-even. (ii) Gopuchchha-like the tail of a cow , beginning with slow or broad laya which goes on
tapering and ends in a fast tempo. (iii) Srotangata-like a river fast and noisy in the beginning but
gradually becoming slower. (iv) Mridanga-shaped like a pakhawaj, tapering or fast at both ends and
broad in the middle. (v) Pipilika or Damaru-shaped like an ant or damaru. Broad at both ends and
narrow in the middle.
These jatis and yatis can be used in any type of composition.
The musical accompaniment to Nritta is called a lahara which is just a one - line musical piece. This in a
sense is monotonous as the same line is repeated over and over again, and serves more to mark the
time and has less musical value.
I have given a brief account of the Nritta in Kathak as it exists today. There is much scope for perfection
and innovations. New expressions are needed, but they should be introduced by the masters of the art,
who are well versed in the technique and are not lacking in imagination, for it needs a creative and
disciplined mind to produce such work. Experiments can be made at composing dances on themes like
trivat, chaturanga, tarana and sargam.
B
i
r
t
h


c
e
n
t
e
n
a
r
y

c
e
l
e
b
r
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n

b
y

N
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r
o
o
p
Some people are of opinion that amada is a piece played as a rhythmic prologue on the tabla or the
pakhawaj just before the commencement of the dance. Though this theory is debatable, it cannot be
ignored.
3: Thata: Thata in general means decoration or a graceful attitude. These attitudes or postures are
taken (thata bandhana) before the amada is danced. Thata is used in another sense also as thata ka
baratna. In this the dancer stands with one hand held to the side and the other high and aloft , and
moves his eyes, eyebrows, neck, shoulders, arms, chest, and wrists to the accompaniment of slow
rhythm played on the tabla.
4: Natwari: Natwara is an epithet of Lord Krishna, which means the best among dancers. It is a belief
that when Natwara subdued the monster-serpent Kaliya and danced on its hoods, the sounds ta thei
and tat were produced. It is perhaps due to this belief that all bolas composed of syllables ta, thei, tat
and their derivatives such as digidigi, tram, tighda, are classed as Natwari by the Kathak Masters:
tigdha digidigi dig tho digidigi thei tata - ta thei ta thei tigdha thei tigdha
digidigi digtho digidigi thei tram thei tigdha digidigi digtho digidigi thei
tram thei tigdha digidigi digtho digidigi thei tram thei.
5: Paramelu: The term paramelu is composed of the two words para meaning different and mela
meaning union. The Paramelu pieces are composed by cleverly blending the sound syllables of various
percussion instruments such as nagara, pakhawaj, jhanj, mejeera, tasha, dapha etc. with natwari bolas.
The sound syllables however by use have become conventional and some of these are-thari, kuku,
jhanaka, divanga, dhilanga, jhangara, jagajaga, thudanga, jhangajhanga etc.
jaga jaga thari thari kuku thari naga thari dhimi kita taka naga thari
kita thun ga tharika tharika thari ka tanaga dhimiki tataka jagaja gajaga
thun-thun-thun ta-thun-ga-takathun -ga- dhimita thunga dhimiki tataka
jagana gathari dhimiki tataka theita theita thei theita theita thei theita
theita thei.
6: Paran: Next we come to a variety of compositions played exclusively on the pakhawaj. These are
called parans.These are forceful compositions and are danced with vigorous movements:
Kitataka thun-thun nati tac dha dinta kiddha dinta kati tadha dinta kat
Tita dhadin ta kidadhet - dha dinta kati tadha - thun - tadha kati tadha
Thun - ta dha kati tadha - thun - ta dha.
7: Kramalaya: This is popularly known as tatkar ki badhat or simply pair bajana. In this the dancer
begins with the basic tatkar of the tala. e.g. ta thei thei tat of tritala and then proceeds to show
different laya jatis, and ends in a fast laya. For the students there are set patterns, but the masters of the
art interpret with extempore improvisations. This should really form a part of the Natwari but due to its
exclusive character it is classed separately.
8: Kavita: Kavita is a poetic composition set to tala. The metres used usually are sawaiya,
ghanakshari, panch-chamara etc; very often a natwari piece is affixed to it. The meaning is
interpreted by various gestures, while laya is marked by the feet. Thought abhinaya is evident in these
compositions, it is classed under nritta because the rhythmic aspect is predominant:
mura liki dhuna suna bajata mri danga dhuna dhudhu kitadhudhu kita
dhuki tadhu kita thei tana taka rata utha hera taphe rata chita chan dracha
pala digidigi nadigi digina digidigi digidigi thodigi digitho digidigi digidigi
kdan kidta thei yaka thei kidta thei yaka thei kidta thei yaka thei.
9&10: Toda and Tukada: Nothing definite is known about these terms. Some use them in the sense of
the whole nritta performance when they say tode tukde nacho. Others are of opinion that toda in
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25
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| | | - + |-| .|-+| - -| |+ +
+|- |+-+ , | - | + |:-|+ +- + +
-|=+ .-|+ | +|-+| + + |:- |
+| +|- (|) + |- +| +-| +| .-- +-|
-| - - +| --| += +, | | -| + -
++| + || +|-+ |++ --| +| .-|-
|- :+ + --| -, - +|-| +|
|+||-|- - --||+||-
:--++ |+ +-|
--|+ -||+
--| ; .+| +|- | + |+-, |-: + |+ +|
.|+- +-| |+- +-| +- .+|- + +|+: +
|+|- -| , | |+ + (+-) +~|
|-| | - +| +|- | +|- + ||+ + +
+ | ;-+| | --+ |- + | +| +| |-|
, -| - --| + ++| +| |- +|- | +| +|
|++ --|| +| | .-|- + | |-|-
HWH Hs ebr
^monmb
E_. Eg. H`mUnyHa
{Og Vah dm gJrV `m
Jm`Z Ho Ambmn _| da Ho ghr
BVo_mb Ama CZHo g`moOZ _| hr
ag Hm dmg hmoVm h,
Cgr Vah Zm _| Ad`dm| Hs
b{bV J{V Ama nam| Hs
b`m_H gaMZmAmo Hs
ghr Vw{V _| hr
ag {Z{hV h &
; - + -, +|-+| + +:--| |+- +- +|- + -- -| +| +---| +- | +-
|+- -+| +| =+-| + -| |-: +| .||+ +- | - + - +- | c+
|-|:- |-| +|+- +| - + :-+ +| +| + .:|- +-| , |+| - ;a| | |+|
-+ =+-|
--| + .+|-|, - +| + -|-|- |: + |+| +-| -+| |-+| -+ | +|-| +| a
|- +| .-|- + | -+| -|- + ||- --
++ + --| += +.|- ;+ +|+ |+| c+| +| -, |-: | +| --+ | |+|+
-+| + .-- +-|
|++ --| +| +|-| +|| + |+| = | --|++ |+-+-| |-| ;
|| + --+| ++|+ ; .+| |+| +|
-. +- +:-|
. |+:
,. |c
-. -c+|
-. ++
. +-
c. ++|
. +|+-|
. -||
-c. c+|
--. +|-
-. +c--
1. JUoe dXZm
-+| + |- +, |+- | +||| +| +-+| ++|- +- +| +-:-|, +|-+|- +-+| |
||++ -e|- | +-| -+ |- |- |- :+ | :-| |+ :-| |+ - +|
|- ++|- +-:-| |+| | | + (+:+) | |+|- + :+ -| +| .|-| | +| |-|
-|| (++|-) + +| +|- | ; .+ + |+ +- - + |- + +- +
--|| +| +|c + | -:-| - + +- +-:-| + | --| |+ ++|- +- +| -|-
- + - +|| + | |-+|- |-| | :|-| |++ + -+ |++ - +| |-+| +-|
++ --+| || -|-| |- +|| +| - | +-| | |:-+ |+ ++ + +-+|
||-+ ++ +| || +-||+- +| | |
+ + ++|- + +u ++ +|c +| +|c +|
- - -- -- ; - + +:- ++-
:| -| | -| - |+- -
u +-, |+- |+
||+ |+c| ||+ |+c|
25
-. --| |- + +| +| +||, + |+-+ +
-++- | ;+ + +| -| -+- +| +u| +|
|+ +||:+ | |+-||+ |+--+,|-
|+ - + | -|, +|-+ +| + - -+| + .+ +
| | | - + |-| .|-+| - -| |+ +
+|- |+-+ , | - | + |:-|+ +- + +
-|=+ .-|+ | +|-+| + + |:- |
+| +|- (|) + |- +| +-| +| .-- +-|
-| - - +| --| += +, | | -| + -
++| + || +|-+ |++ --| +| .-|-
|- :+ + --| -, - +|-| +|
|+||-|- - --||+||-
:--++ |+ +-|
--|+ -||+
--| ; .+| +|- | + |+-, |-: + |+ +|
.|+- +-| |+- +-| +- .+|- + +|+: +
|+|- -| , | |+ + (+-) +~|
|-| | - +| +|- | +|- + ||+ + +
+ | ;-+| | --+ |- + | +| +| |-|
, -| - --| + ++| +| |- +|- | +| +|
|++ --|| +| | .-|- + | |-|-
HWH Hs ebr
^monmb
E_. Eg. H`mUnyHa
{Og Vah dm gJrV `m
Jm`Z Ho Ambmn _| da Ho ghr
BVo_mb Ama CZHo g`moOZ _| hr
ag Hm dmg hmoVm h,
Cgr Vah Zm _| Ad`dm| Hs
b{bV J{V Ama nam| Hs
b`m_H gaMZmAmo Hs
ghr Vw{V _| hr
ag {Z{hV h &
+ :||- +|+||+ | + ;-+ +a -- ||, ++, ~-|+, |:++, |+, ~+||, ++|, +|,
~+|~+| ;||:
+ + || ++ | -+ |
|:| |+c| -+ + | |+c +|
|+ |+ ||+ c-+ ||++| c-+
+ ++ -------|---+|-
-+--+|-||+- +|
|:|++| c-+ +- +|
|:|++| c-+ ;-| ;-|
; ;-| ;-| ; ;-| ;-| ;
6. naZ :
+ + |+-+ + - +u|+ + +|| +; |+| --|| + |- ;- +- +| |-| |+++
--| | |+| +|- + | -|-| |-|
|+-+ --- -||- c-|
| |-| |+| |:-| +|- c| |-| +-
|-c || -| |+- - | |-| +|- c|--
-| | +|- c| --- -| | +|- c| - -- -| |
7. H_b`:
; |+-| + --+| +| +c- | + +|-| + -+ + |-| |-| ;+ --+ -| +| +|-|:|
--+| -|- +-| - +- |+-| +| -- -| ; ; --- | |+ |+| | +|-| +|
.:|-- +-| | -|+ +|+- +-| |+||| + | ;+| |-|-- --| |+- +| +
--+|-|-|+----|| + ; .-- +- :, -c+| +| || |-| -|| |+- +-
|+|-- -|+ + +| ;+| + ++|+ |+| |-|
8.H{dVm:
+|+-| -| + -| -| +; +||++ - --| |+ -| + +|, -|=|, +--|+ ||: a:| +|
;+ .|+ |-| | + | -c+| +| c+| | |:| |-| +| |+| +,|| .-- |+|
|-| , +|+ +| +- + |:| |-| |+ ;- --|| + |- +- |-| , ;-+| ++|+
--| + -+- |+| |-| , ||+ ;+ |++ += +| .|--|
+| +| -- +|- +:+ -
|+c |+c +|c |+c
; --- +- -c - +-
|-- -, -+ |:+|:+ -||:+|:+
-||:+|:+ |:+|:+ | |:+|:+ | |:+|:+
+| -- ; -- ;
+| -- ; -- ;
+| -- ; -- ;
27
+ + ::|+ ;
+ + ::|+ ;
+ + ::|+ ;
2. Am_X :
|+: +|| +| -: ;+| +-+ |++- | |-| -, .:-- + |- + .-- |+| |-|
| -c+| +|| +| |+|-- --|| + |-+, |-| ;|| + |+: + -+ + ++|+- |+|
|-| -c+| +| ; .+|
-| ; -- ; -| ; -- ; ; ; -| ; -
-| ; ; ; -- -- -|
; |+ .|+-|| +-|- + | + +|-+||+ +u|+ | ++ -+ + ; .+| +|| |-|
| - + +| - | + |: + -|
| |- -| - -| |+ | -+| +|
-|+c -+| - |-c|+-| +:|+- -| ; --
; -| ; -- ; ; -|; - -| ; ; --
-- -|
+a |+| +| +- |+ |+:, - -- +- + -+| + +u|+ | -+| + +|| |- +|| |++
+++ |+ |,|-- |++|:|+: |+- ; -:u| -| |+| | +-|
3. WmQ> :
|c +| |+|-- + | + |+- +,| +,| | |++| ( |c +-) |+: + +
.-- +| |-| |c + : + | . |-| - |c +| +--| ;+ --+ + |
+| + u-| | :| ++ | +-| -c|+, +-| |u|, +|, +:-, +|, +||, a|-| |
+|;| +| -+ + |-+|| +| +|,+ +| +- + --|-|
4. ZQ>dar :
-c+|, ++|- +- +| + |+-+ ;+| +-+ ... --+| + +e |++| |+| |-| |+
+ -c+ - |+|+| + +||| +| :+- |+| | -+ +-| + - |+| -+ -| ; | -- -- +|
+|-| -+ ; +- ;| |++| + +| | +| -|, ;, -- | -- |-+ =| +--
-- |:|+- |:|+, +|+, -|+-| ;- +-+ +| + || -c+| + ++|+- |+| |-|
|-+| |:+| |:+| |:+ | |:|+|:|+ ; -- -- -|
; -| ; |-+| ; |-+| |:|+|:|+ |:+| |:|+|:|+
; +|+ ; |-+| |:|+|:|+ |:+|
|:|+|:|+ ; +|+ ; |-+| |:|+|:|+ |:+|
|:|+|:|+ ; +|+ ;
5. na_obw :
++ :| -:| +-| + |+| -- |, -, ++, || | |+|-e | +
|+| -- |- -+||, +u|+, ~|~, +||, -|-|, c+ ||: |+| -| +|| + +| +|
-c+| +|| + | +| |-+-| ||- + ++ + c+ - |- ;-+ +|=, +|, -+|+
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+ :||- +|+||+ | + ;-+ +a -- ||, ++, ~-|+, |:++, |+, ~+||, ++|, +|,
~+|~+| ;||:
+ + || ++ | -+ |
|:| |+c| -+ + | |+c +|
|+ |+ ||+ c-+ ||++| c-+
+ ++ -------|---+|-
-+--+|-||+- +|
|:|++| c-+ +- +|
|:|++| c-+ ;-| ;-|
; ;-| ;-| ; ;-| ;-| ;
6. naZ :
+ + |+-+ + - +u|+ + +|| +; |+| --|| + |- ;- +- +| |-| |+++
--| | |+| +|- + | -|-| |-|
|+-+ --- -||- c-|
| |-| |+| |:-| +|- c| |-| +-
|-c || -| |+- - | |-| +|- c|--
-| | +|- c| --- -| | +|- c| - -- -| |
7. H_b`:
; |+-| + --+| +| +c- | + +|-| + -+ + |-| |-| ;+ --+ -| +| +|-|:|
--+| -|- +-| - +- |+-| +| -- -| ; ; --- | |+ |+| | +|-| +|
.:|-- +-| | -|+ +|+- +-| |+||| + | ;+| |-|-- --| |+- +| +
--+|-|-|+----|| + ; .-- +- :, -c+| +| || |-| -|| |+- +-
|+|-- -|+ + +| ;+| + ++|+ |+| |-|
8.H{dVm:
+|+-| -| + -| -| +; +||++ - --| |+ -| + +|, -|=|, +--|+ ||: a:| +|
;+ .|+ |-| | + | -c+| +| c+| | |:| |-| +| |+| +,|| .-- |+|
|-| , +|+ +| +- + |:| |-| |+ ;- --|| + |- +- |-| , ;-+| ++|+
--| + -+- |+| |-| , ||+ ;+ |++ += +| .|--|
+| +| -- +|- +:+ -
|+c |+c +|c |+c
; --- +- -c - +-
|-- -, -+ |:+|:+ -||:+|:+
-||:+|:+ |:+|:+ | |:+|:+ | |:+|:+
+| -- ; -- ;
+| -- ; -- ;
+| -- ; -- ;
27
+ + ::|+ ;
+ + ::|+ ;
+ + ::|+ ;
2. Am_X :
|+: +|| +| -: ;+| +-+ |++- | |-| -, .:-- + |- + .-- |+| |-|
| -c+| +|| +| |+|-- --|| + |-+, |-| ;|| + |+: + -+ + ++|+- |+|
|-| -c+| +| ; .+|
-| ; -- ; -| ; -- ; ; ; -| ; -
-| ; ; ; -- -- -|
; |+ .|+-|| +-|- + | + +|-+||+ +u|+ | ++ -+ + ; .+| +|| |-|
| - + +| - | + |: + -|
| |- -| - -| |+ | -+| +|
-|+c -+| - |-c|+-| +:|+- -| ; --
; -| ; -- ; ; -|; - -| ; ; --
-- -|
+a |+| +| +- |+ |+:, - -- +- + -+| + +u|+ | -+| + +|| |- +|| |++
+++ |+ |,|-- |++|:|+: |+- ; -:u| -| |+| | +-|
3. WmQ> :
|c +| |+|-- + | + |+- +,| +,| | |++| ( |c +-) |+: + +
.-- +| |-| |c + : + | . |-| - |c +| +--| ;+ --+ + |
+| + u-| | :| ++ | +-| -c|+, +-| |u|, +|, +:-, +|, +||, a|-| |
+|;| +| -+ + |-+|| +| +|,+ +| +- + --|-|
4. ZQ>dar :
-c+|, ++|- +- +| + |+-+ ;+| +-+ ... --+| + +e |++| |+| |-| |+
+ -c+ - |+|+| + +||| +| :+- |+| | -+ +-| + - |+| -+ -| ; | -- -- +|
+|-| -+ ; +- ;| |++| + +| | +| -|, ;, -- | -- |-+ =| +--
-- |:|+- |:|+, +|+, -|+-| ;- +-+ +| + || -c+| + ++|+- |+| |-|
|-+| |:+| |:+| |:+ | |:|+|:|+ ; -- -- -|
; -| ; |-+| ; |-+| |:|+|:|+ |:+| |:|+|:|+
; +|+ ; |-+| |:|+|:|+ |:+|
|:|+|:|+ ; +|+ ; |-+| |:|+|:|+ |:+|
|:|+|:|+ ; +|+ ;
5. na_obw :
++ :| -:| +-| + |+| -- |, -, ++, || | |+|-e | +
|+| -- |- -+||, +u|+, ~|~, +||, -|-|, c+ ||: |+| -| +|| + +| +|
-c+| +|| + | +| |-+-| ||- + ++ + c+ - |- ;-+ +|=, +|, -+|+
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29
Syllabus
1st ever in Kathak History
Bhatkhande University of Music, Lucknow
MADHYAMA
THEORY
Revision of the Previous Course.
M.M.100
1. Origin of Dance according to Natya Shastra of Bharata.
2. Nine head gestures, eight eye glances, according to Abhinaya Darpan.
3. The following single hand mudras as given in Abhinaya Darpan: -
Padmakosh, Sarpasheersh, Mrigasheersh, Sringhamukh, Kangul, Alapadma,
Chatur, Bhramar, Hamsa, Hanspaksha, Mukul, Sandansh, Tamrachood and
Trishool.
4. Definitions of the f following: -
That Amad Salami Rangmanch-ka-Tukda, Tukda, Paran, Chakradar Tihai, Athgun
and Laya-Bant.
5. Knowledge of the following: -
Tandava, Lasya, Andaz, Natawari, Paramelu, Drut, Madhya, Vilambit, Nagma
and Kavitta.
6. Basic knowledge of the following Talas: -
Ada-Chautal, Sool Tala, and Teora.
9 Ama 10. VmoS>m Ama Qw>HS>m :
;- +:| + +| + +a | |-|-- -|- -| +a |+ ;+| ;-+| + --| .-|- + + +- -
- + +- -- -|,c+ -|-| :| +| +- |+ - + -|| |-| + -| +| +,|- + |-|+-
|-| |+| +-| |-||- --| |-| -+ :||, |::|, ,|-, :||::| + +| |- c+| -c+|
|++ +| + a|c| -
11. gJrV :
+ +|; -, +|, -| + -c+|, ++ | +- |, +| + .-- |+| |-| , -| +|- +|-|
++| +|| |+:|:|- -|: | +-| -|- , + + +- + +: + +- , +|- -|-- -+- ||
|+-| ---|; +|+ -|| ||+ ; -+-|| |+-| + ++ , ---| ; ; +|+ + -c+| |
--| +- +| + + +| | +:|+- + ||, ||| + +- +|| +| |+ + .-- +-
+| |- + +|- +| | |+-, -+ ; - +|- +| +| + .+| -| , +|-+ |+| |
+| +| |+||-+ .-|-
12. nT>V :
-: +c- +- + +c- |-+| |+| - +c-| +-+ .-|- + +- | + --+ - |+
|- +| +|| +| +c-| | +-| -||| -| +| +- +-| |-| +c- + |- + |+-:| +
|- |:| |-| -|| + , +|| +| -, -|, +||- | +--| +|- -|+ + -
|-=+ +| + |+-+-| +-|; +; -- +u+||++||+: c|+|+| ;+| +~|- +-| |+
+u+| +| +-+ + (+:+) + |-+| + +| +| +c-
|+| +|| +| --|| + +|- | |- +| .|+ |+| |-|
J{V : +|- +|- .+| +| -- --, |-, u, |+ | +| ;- . + .+| +| +| |-|
-- + +| +| -| +|+| |-| , | -| +| -| +|+|| +| +|:| |-| |- +| -|- +|+| |-| ,
| -| +|+|| +| -| +|+|| + +|- |-| u- + +|- +|+| |-| | +| -| +|+|| + +|+
|-| |+ + |- | +| + -| +|+| |-| | -| +|+|| + +|-+|- + |-|
`{V : |- | +|- |-| , | + +| -|=+ .-|-|
-. + -- +|+
. +|+a -- +| +| +a + +|- +|:+ | |+|+- (|+--) -- ++ | ++- -|+|
|-| |-| | -|+ -| + +|+ |-|
,. |-+- |-| +| - -- + -|+ | +u | ++- |+| |-| ;
-. +:+ +u|+ + |+| +|, :|-| | ++- -|+| +| -|+ | +|- + |+-- | |+|+-
-. |+|+|+| | + + -|c| | + + |+| +|, :|-| | |+-- | +|- + +|
+|-| | |-| |+| | .+| +| --| + . +| | +-|
--| +| |+||-+ +- | +|-| , | + +| +| |+||-+ c+| + + + |-|
||+ + +| +|-+| :||; |-| | ;+| +- |+||-+ ++ +||-+||-+ |+ |-|
+- ++||- ++ + --| +| ||- +| |=+ |++ |:| ;+ -+|--| | +|-+| +| +|
+|;- -; |-|| +| -- |+- + -+- +|+|| + || +| |-| -||, | -+-|+
+| - +||-- | | |-+ +-+-| +| | ++| - | ||+ ; - +| --| + | + --|++
| --||- +|- +| -- |++-, --+, -|-| | ++ |u .+| + --| +-
.|+ |+ | +-
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Syllabus
1st ever in Kathak History
Bhatkhande University of Music, Lucknow
MADHYAMA
THEORY
Revision of the Previous Course.
M.M.100
1. Origin of Dance according to Natya Shastra of Bharata.
2. Nine head gestures, eight eye glances, according to Abhinaya Darpan.
3. The following single hand mudras as given in Abhinaya Darpan: -
Padmakosh, Sarpasheersh, Mrigasheersh, Sringhamukh, Kangul, Alapadma,
Chatur, Bhramar, Hamsa, Hanspaksha, Mukul, Sandansh, Tamrachood and
Trishool.
4. Definitions of the f following: -
That Amad Salami Rangmanch-ka-Tukda, Tukda, Paran, Chakradar Tihai, Athgun
and Laya-Bant.
5. Knowledge of the following: -
Tandava, Lasya, Andaz, Natawari, Paramelu, Drut, Madhya, Vilambit, Nagma
and Kavitta.
6. Basic knowledge of the following Talas: -
Ada-Chautal, Sool Tala, and Teora.
9 Ama 10. VmoS>m Ama Qw>HS>m :
;- +:| + +| + +a | |-|-- -|- -| +a |+ ;+| ;-+| + --| .-|- + + +- -
- + +- -- -|,c+ -|-| :| +| +- |+ - + -|| |-| + -| +| +,|- + |-|+-
|-| |+| +-| |-||- --| |-| -+ :||, |::|, ,|-, :||::| + +| |- c+| -c+|
|++ +| + a|c| -
11. gJrV :
+ +|; -, +|, -| + -c+|, ++ | +- |, +| + .-- |+| |-| , -| +|- +|-|
++| +|| |+:|:|- -|: | +-| -|- , + + +- + +: + +- , +|- -|-- -+- ||
|+-| ---|; +|+ -|| ||+ ; -+-|| |+-| + ++ , ---| ; ; +|+ + -c+| |
--| +- +| + + +| | +:|+- + ||, ||| + +- +|| +| |+ + .-- +-
+| |- + +|- +| | |+-, -+ ; - +|- +| +| + .+| -| , +|-+ |+| |
+| +| |+||-+ .-|-
12. nT>V :
-: +c- +- + +c- |-+| |+| - +c-| +-+ .-|- + +- | + --+ - |+
|- +| +|| +| +c-| | +-| -||| -| +| +- +-| |-| +c- + |- + |+-:| +
|- |:| |-| -|| + , +|| +| -, -|, +||- | +--| +|- -|+ + -
|-=+ +| + |+-+-| +-|; +; -- +u+||++||+: c|+|+| ;+| +~|- +-| |+
+u+| +| +-+ + (+:+) + |-+| + +| +| +c-
|+| +|| +| --|| + +|- | |- +| .|+ |+| |-|
J{V : +|- +|- .+| +| -- --, |-, u, |+ | +| ;- . + .+| +| +| |-|
-- + +| +| -| +|+| |-| , | -| +| -| +|+|| +| +|:| |-| |- +| -|- +|+| |-| ,
| -| +|+|| +| -| +|+|| + +|- |-| u- + +|- +|+| |-| | +| -| +|+|| + +|+
|-| |+ + |- | +| + -| +|+| |-| | -| +|+|| + +|-+|- + |-|
`{V : |- | +|- |-| , | + +| -|=+ .-|-|
-. + -- +|+
. +|+a -- +| +| +a + +|- +|:+ | |+|+- (|+--) -- ++ | ++- -|+|
|-| |-| | -|+ -| + +|+ |-|
,. |-+- |-| +| - -- + -|+ | +u | ++- |+| |-| ;
-. +:+ +u|+ + |+| +|, :|-| | ++- -|+| +| -|+ | +|- + |+-- | |+|+-
-. |+|+|+| | + + -|c| | + + |+| +|, :|-| | |+-- | +|- + +|
+|-| | |-| |+| | .+| +| --| + . +| | +-|
--| +| |+||-+ +- | +|-| , | + +| +| |+||-+ c+| + + + |-|
||+ + +| +|-+| :||; |-| | ;+| +- |+||-+ ++ +||-+||-+ |+ |-|
+- ++||- ++ + --| +| ||- +| |=+ |++ |:| ;+ -+|--| | +|-+| +| +|
+|;- -; |-|| +| -- |+- + -+- +|+|| + || +| |-| -||, | -+-|+
+| - +||-- | | |-+ +-+-| +| | ++| - | ||+ ; - +| --| + | + --|++
| --||- +|- +| -- |++-, --+, -|-| | ++ |u .+| + --| +-
.|+ |+ | +-
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31
Jayalal, Sunder Prasad, Madam Menaka, Narain (vii) Jatis with Boles: - (a) Chatusra.
Prasad.
(b) Tisra.
9. Ability to write notation of all the Talas and
(c) Khanda.
Boles learnt.
(d) Misra.
(e) Sankirna.
VISHARAD PART II
(viii) TATKAR
THEORY
(a) Kramlaya (Thah, Dugun, Tigun, Chaugun,
Revision of the Previous Course.
Panchgun, Chhegun, Satagun, Athagun).
M.M.100
(b) Zarab (simple).
1. A knowledge of the origin of Dance according
(c) Bol Jati and Laya Jati.
to Indian and Western concepts.
(d) Advanced Bant of Sada Tatkar.
2. Ten Pranas of Tala in general with a detailed
(e) Tihais of different varieties.
study of Graha, Jati and Yati.
(ix) Gats I: Gat Nikas advance.
3. The following combined (Sanyukta) hand as
Gats II: Gat Bhava: - 1.Elaborate Govardhan.
given in Abhinaya Darpan:
2.Elaborate Holi.
Sampat, Pash, Keelak, Matsya, Koorma, Varaha,
3. Kaliya Daman.
Garuda, Nagbandah Khatva and Bherunda with
Attention should be paid to the accuracy in Chals.
their uses.
(x) Abhinaya in two Thumris and two Bhajans
4. Analytical study of the following main dance
(ability to sing while performing is expected.
forms: -
Correct use of the eyes i.e. Nigah or Drishti as
Kathak, Kathakali, Bharata Natyam, Manipuri,
applied to Abhinaya in Kathak Dance.)
Odissi, Kuchchipudi.
(xi) Ability to perform elaborately on the following
5. An elementary knowledge of the eight Nayikas
Talas: -
and four Nayaks as given in Natya Shastra.
1. Jhaptal
6. Definitions of the following terms: -
2. Dhamar
Mudra, Sawai laya, Paun Laya, Paun Dooni, Zarab
(in Tatkar), Kramalaya, Bhava, Nikas, Bol
3. Chautal
Jati,Nritya Hasta, Kataksha.
4. Ashtamangal
7. Critical analysis of different Gharanas of Kathak
5. Sawari 15 Matras.
Dance.
(xii) General knowledge of the following Talas
8. Critical Analysis of the Lucknow Gharana from
with simple Tukdas. Tihais etc. and ability to
Ishwari Prasad to the present generation.
perform with elaboration any one of them.
9. A detailed study of Laya and its application.
1. Shikhar
10. Basic knowledge of the following Talas: -
2. Matta
Lakshmi, Brahma, Vishnu and Rudra.
3. Brahma
4. Rudra
NIPUN PART I
(xiii) Playing on Tabla the following prevalent Talas
PRACTICALS
in Thah, Dugun and Chaugun.
TRITAL
1. Trital
M.M.200
2. Dadra
(i) Ganesh Paran.
3. Rupak
(ii) Two Amads (advanced type).
4. Kaharwa
(iii) Ta Thei Tat Thei variety (eight Tukdas).
5. Sooltal
(iv) Three Paramelu Tukdas (Sada and Chakradar).
(v) Ten Natawari Tukdas (Sada and Chakradar).
(vi) Pakhawaj Paran-Four Sada and two Chakradar.
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7. Life sketches of the following: - accuracy.
Achachan Maharaj, Shambho Maharaj and (c) Advance Thata.
Lachchu Maharaj.
(d) One Amad Chatusrajati.
(e) One Amad Tisrajati.
VISHARAD PART I
(f) One Paran Misrajati.
PRACTICAL
(g) Two Paramelu Tukdas.
M.M.200
(h) Two Natawari Tukdas.
1. TRITAL
(i) One Chakradar Paran.
(a) One advance Tatkar variety with at least ten
(j) One Sada Paran.
variations.
(k) Revision of Nikas Gats and Makhan Chori and
(b) Thata.
Kaliya Daman Gats.
(c) One Chatusrajati Amad.
(l) Tihais in complicated Layas.
(d) One Tisrajati Amad.
(e) Two Paramelu Tukdas.
2. CHAUTAL
(f) Two Natawari Tukdas.
(a) One Amad.
(g) Four Parans (Two sada and two Chakradar).
(b) Three Parans.
(h) Tatkar in Tigun and Chaugun Layas and
(c) Four Tukdas, Three Parans, Two Chakradar &
increase in speed of Tatkar.
Tihais in any one of the following Talas.
(I) Two advance Gats of Nikas and simple Holi
1. Ashtamangal (11 Matras)
and Govardhan Leela Gats.
2. Sawari (15 Matras)
3. Shikhar (17 Matras)
2. DHAMAR
(a) One Amad.
VISHARAD PART I
(b) Four Tukdas.
THEORY
(c) Two simple Parans.
Revision of the Previous Course.
(d) Two Chakradar Parans.
M.M.100
(e) Four Tihais.
1. Mudras denoting the Dieties according to
Abhinaya Darpan.
3. CHAUTAL
2. Mudras denoting castes as given in Abhinaya
(a) Tatkar in Barabar, Dugun and Chaugun Layas. parts.
(b) Rang Manch ka Tukda. 3. Explanation of Abhinaya and its four parts.
(c) Two Amads. 4. Elementary knowledge of the Nine Rasas and
their application in dance.
(d) Four simple Tukdas.
5. The following combined hand mudras: -
(e) Two simple and one Chakradar Paran.
Anjali, Kapota, Karkat, Swastik, Dola,
(f) Four Tihais.
Pushpaput, U t s a n g a , S h i v l i n g a ,
(g) Padhant of all the Bols learnt.
Katakavardhan, Kartari, Shakat, Shankh and
Chakra Hastas.
VISHARAD PART II
6. Knowledge of the following terms: -
PRACTICAL
Adi, Kuadi Biadi, Kasak, Haav-Bhava, Mukh
M.M.200
Bhava, Gat Nikas and Chhand.
1. TRITAL
7. Basic knowledge of the following Talas.
(a) Ability to improvise extempore varieties in
Deepchandi, Jhoomra, Sawari, Matta, Ashta-
Tatkar with speed.
Mangal.
(b) Performance of Chakkars with speed and
8. Life sketches of the following: -
31
Jayalal, Sunder Prasad, Madam Menaka, Narain (vii) Jatis with Boles: - (a) Chatusra.
Prasad.
(b) Tisra.
9. Ability to write notation of all the Talas and
(c) Khanda.
Boles learnt.
(d) Misra.
(e) Sankirna.
VISHARAD PART II
(viii) TATKAR
THEORY
(a) Kramlaya (Thah, Dugun, Tigun, Chaugun,
Revision of the Previous Course.
Panchgun, Chhegun, Satagun, Athagun).
M.M.100
(b) Zarab (simple).
1. A knowledge of the origin of Dance according
(c) Bol Jati and Laya Jati.
to Indian and Western concepts.
(d) Advanced Bant of Sada Tatkar.
2. Ten Pranas of Tala in general with a detailed
(e) Tihais of different varieties.
study of Graha, Jati and Yati.
(ix) Gats I: Gat Nikas advance.
3. The following combined (Sanyukta) hand as
Gats II: Gat Bhava: - 1.Elaborate Govardhan.
given in Abhinaya Darpan:
2.Elaborate Holi.
Sampat, Pash, Keelak, Matsya, Koorma, Varaha,
3. Kaliya Daman.
Garuda, Nagbandah Khatva and Bherunda with
Attention should be paid to the accuracy in Chals.
their uses.
(x) Abhinaya in two Thumris and two Bhajans
4. Analytical study of the following main dance
(ability to sing while performing is expected.
forms: -
Correct use of the eyes i.e. Nigah or Drishti as
Kathak, Kathakali, Bharata Natyam, Manipuri,
applied to Abhinaya in Kathak Dance.)
Odissi, Kuchchipudi.
(xi) Ability to perform elaborately on the following
5. An elementary knowledge of the eight Nayikas
Talas: -
and four Nayaks as given in Natya Shastra.
1. Jhaptal
6. Definitions of the following terms: -
2. Dhamar
Mudra, Sawai laya, Paun Laya, Paun Dooni, Zarab
(in Tatkar), Kramalaya, Bhava, Nikas, Bol
3. Chautal
Jati,Nritya Hasta, Kataksha.
4. Ashtamangal
7. Critical analysis of different Gharanas of Kathak
5. Sawari 15 Matras.
Dance.
(xii) General knowledge of the following Talas
8. Critical Analysis of the Lucknow Gharana from
with simple Tukdas. Tihais etc. and ability to
Ishwari Prasad to the present generation.
perform with elaboration any one of them.
9. A detailed study of Laya and its application.
1. Shikhar
10. Basic knowledge of the following Talas: -
2. Matta
Lakshmi, Brahma, Vishnu and Rudra.
3. Brahma
4. Rudra
NIPUN PART I
(xiii) Playing on Tabla the following prevalent Talas
PRACTICALS
in Thah, Dugun and Chaugun.
TRITAL
1. Trital
M.M.200
2. Dadra
(i) Ganesh Paran.
3. Rupak
(ii) Two Amads (advanced type).
4. Kaharwa
(iii) Ta Thei Tat Thei variety (eight Tukdas).
5. Sooltal
(iv) Three Paramelu Tukdas (Sada and Chakradar).
(v) Ten Natawari Tukdas (Sada and Chakradar).
(vi) Pakhawaj Paran-Four Sada and two Chakradar.
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7. Life sketches of the following: - accuracy.
Achachan Maharaj, Shambho Maharaj and (c) Advance Thata.
Lachchu Maharaj.
(d) One Amad Chatusrajati.
(e) One Amad Tisrajati.
VISHARAD PART I
(f) One Paran Misrajati.
PRACTICAL
(g) Two Paramelu Tukdas.
M.M.200
(h) Two Natawari Tukdas.
1. TRITAL
(i) One Chakradar Paran.
(a) One advance Tatkar variety with at least ten
(j) One Sada Paran.
variations.
(k) Revision of Nikas Gats and Makhan Chori and
(b) Thata.
Kaliya Daman Gats.
(c) One Chatusrajati Amad.
(l) Tihais in complicated Layas.
(d) One Tisrajati Amad.
(e) Two Paramelu Tukdas.
2. CHAUTAL
(f) Two Natawari Tukdas.
(a) One Amad.
(g) Four Parans (Two sada and two Chakradar).
(b) Three Parans.
(h) Tatkar in Tigun and Chaugun Layas and
(c) Four Tukdas, Three Parans, Two Chakradar &
increase in speed of Tatkar.
Tihais in any one of the following Talas.
(I) Two advance Gats of Nikas and simple Holi
1. Ashtamangal (11 Matras)
and Govardhan Leela Gats.
2. Sawari (15 Matras)
3. Shikhar (17 Matras)
2. DHAMAR
(a) One Amad.
VISHARAD PART I
(b) Four Tukdas.
THEORY
(c) Two simple Parans.
Revision of the Previous Course.
(d) Two Chakradar Parans.
M.M.100
(e) Four Tihais.
1. Mudras denoting the Dieties according to
Abhinaya Darpan.
3. CHAUTAL
2. Mudras denoting castes as given in Abhinaya
(a) Tatkar in Barabar, Dugun and Chaugun Layas. parts.
(b) Rang Manch ka Tukda. 3. Explanation of Abhinaya and its four parts.
(c) Two Amads. 4. Elementary knowledge of the Nine Rasas and
their application in dance.
(d) Four simple Tukdas.
5. The following combined hand mudras: -
(e) Two simple and one Chakradar Paran.
Anjali, Kapota, Karkat, Swastik, Dola,
(f) Four Tihais.
Pushpaput, U t s a n g a , S h i v l i n g a ,
(g) Padhant of all the Bols learnt.
Katakavardhan, Kartari, Shakat, Shankh and
Chakra Hastas.
VISHARAD PART II
6. Knowledge of the following terms: -
PRACTICAL
Adi, Kuadi Biadi, Kasak, Haav-Bhava, Mukh
M.M.200
Bhava, Gat Nikas and Chhand.
1. TRITAL
7. Basic knowledge of the following Talas.
(a) Ability to improvise extempore varieties in
Deepchandi, Jhoomra, Sawari, Matta, Ashta-
Tatkar with speed.
Mangal.
(b) Performance of Chakkars with speed and
8. Life sketches of the following: -
33
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+ -|= + | ||-
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+ +|- - -| + |+|-- =| +| |++| | | -- =+| +| -|=| - -| + -+ + --
+|--| |+| ; .+| - -|c+, ++, ++|, +|-+|, -|| | +|+| - +| |++| |
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-+, | | |+|-- -| + -+ + ++ + -:+ + u|-|
{~aOy _hmamO Hs de {df`H gmaUr Bg Hma h :-
+.+ | + ++ ;+| | |-+ -|- ++ - +|, u+| | -||+ | +| + -|-
++ - .+|- |, :| | | || | ++ + .+|- | + -|- ++ - :+|.|: |, c|+ .|:
| | +|- | | +|-| | :+|.|: | + | -|- ++ - |+-:|:|- |, +|+| .|: | | |
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-- -| (-- +|| ) a- +|| + ;+|- ++ |+ +|- |- |+|- |+ +|| |
-- +|| + :|-| ++ +- +|- +|| | |+ +|- +|| +| +|- |++|-
u-+ |- + ++|- | c|+ .|: | + +| + +- ++ |-+|| +| +| -+ |+- +||
|+-:|:|- + +| + u-+ + +|- |-+|||, --+ |-:|| | -|| || |+| + -+ + --+| -
-| +| |-+|| -+
+|| |+-:|:|- u-+ |- + |+|- - ++ - | |+-+ -+ |- +| --+| |+
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+-+| | |+ +|| |++ + +a +- +|
+|c- +| +~ |+| +| +|-+|, |-++| |
|| +| +| +-+|| +| u|-| | +~-|
|+ | ||- ||+ ;- |+|| + -+- || +|
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+|=| + | --||:| -+ |=- u |- :|
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- +| +~ || .|+ | ;+ |-|,
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+| = .|+ +- +| + |+| ;| ;-+
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+ |
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+| -+ |-+|+| .-- +- +| .| |+|
|+ +|| +| +-+| +| ++|+- +|- -| +
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nanam Ama {~aOy _hmamO
n. _mohZamd H`mUnyHa
~mbH {~O Zo BVZm b~m naU
Vmb g{hV {~Zm {Hgr JbVr Ho
Xmoham {X`m Vmo
g^r AmM`M{HV ah JE &
AN>Z _hmamO Or Hs AmIm| _o
Iwer Ho Amgy Wo, Yo Jbo go
do Hodb BVZm hr Hh nmE -
"" `h _oam Jw h'' &
33
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|+|-| + -|, - +| |+|-- -| + -+ + ++ +| |++| - +| | -c +| ;+| --| + + |
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-+, | | |+|-- -| + -+ + ++ + -:+ + u|-|
{~aOy _hmamO Hs de {df`H gmaUr Bg Hma h :-
+.+ | + ++ ;+| | |-+ -|- ++ - +|, u+| | -||+ | +| + -|-
++ - .+|- |, :| | | || | ++ + .+|- | + -|- ++ - :+|.|: |, c|+ .|:
| | +|- | | +|-| | :+|.|: | + | -|- ++ - |+-:|:|- |, +|+| .|: | | |
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-- +|| + :|-| ++ +- +|- +|| | |+ +|- +|| +| +|- |++|-
u-+ |- + ++|- | c|+ .|: | + +| + +- ++ |-+|| +| +| -+ |+- +||
|+-:|:|- + +| + u-+ + +|- |-+|||, --+ |-:|| | -|| || |+| + -+ + --+| -
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+|| |+-:|:|- u-+ |- + |+|- - ++ - | |+-+ -+ |- +| --+| |+
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|+a -- ++| | |+ + u-+ |- + |
- +| +~ || .|+ | ;+ |-|,
| +| || |+ +~ + a- +||, + --
+|| | + a +||--|-| | |+|- |;|
+| = .|+ +- +| + |+| ;| ;-+
|-|+|: | |+ +|| | +| |-| + +-+|
| |+ +|| |++ + +a -: +- +| |
+ |
++ u-+ |-| | ;+| +e-|+ +| |- +
u+ |+ +|| +| +-+| +| - +-|
+| -|-- |+| ;-+| +-+| +- +|-| -
| +-+| | |+ +|| -+, , +- - +-+|
+| -+ |-+|+| .-- +- +| .| |+|
|+ +|| +| +-+| +| ++|+- +|- -| +
|+||- |+| | +-| |+ - .|-|- -+-
nanam Ama {~aOy _hmamO
n. _mohZamd H`mUnyHa
~mbH {~O Zo BVZm b~m naU
Vmb g{hV {~Zm {Hgr JbVr Ho
Xmoham {X`m Vmo
g^r AmM`M{HV ah JE &
AN>Z _hmamO Or Hs AmIm| _o
Iwer Ho Amgy Wo, Yo Jbo go
do Hodb BVZm hr Hh nmE -
"" `h _oam Jw h'' &
35
+-| |-| c|+ +|+ |++| |+| | +| + | |:u|; :-| |+ +|| | ; |-
+ +|-|++ .|-|-| , ; |++ + +- |+ - +- ||+ |+-| +| + + + + ++ -
++ + + -- |+| +| |+- + :-| -|-| |+ |+ +|| -+ | .|-|+ | --+|
-+ ++ + | | | + +| | -- | :u- +|, -+ | +|- |: u- + --+|
+-| |+= + +| a- +|| | +- + +~ |u| | - + - | ++ +
|+ +|| | +- |+-| + +| +c |- - + +| -| + |-+, +- + | -u +|
+|-+| :||-| +-| |, | ++ || +| | | +|| | |+ |+ +|| - +| - +|+ ++| |:
|; ++| a- +|| | - -- -| |~+| | + +- -| + |-+, +- + +|+ + + +
+|+ |+ + -| + + | --|- +- +| +| :|| |:| |-|| | :|+- + a-
+|| - + -|- +| +| | + |+ +|| - ;--| -+| + -| |- |+-| |+| +-| +
:|| |:| -| | |--|+- + a- +|| | +| |u| + u-| + | , - + + ++
;--| | + +| - +| +- |+ +|| +|| +|||+ +-|-- +-+| -+, |-=|
.:|- +- +| +- +|||+ | +| -+||-- |-| +-+| ++- +|-| + | + | .+
|+-| | -|+ -+ - ++|- +- -- |+- +-| - |---: -||| |- +
--|| |-- ., +~ +-|; |+ |++| - + |+-|+- | || ; .+| + +| ;+ |
--| |- |+| + +|-| +-| - | - +=|-| +| - +-
; .+| |+ +||, a- +|| | + .|-|+|- ++ |- + |-| |-- | a- +||
| +| :+ | c |++| | |+ --+ ++ |-- | +- + | .|, --+ |, |+ + +| |
-+| | (|+ +|| +| +|-||) +- +|- ++ +| |u|- + | -- - |+- +-| | -| +
|++| | +| +- -; + +a |-| ; +a | |u|- +| -- -| |+ +||
- +-| | +- |+-| +| |+|=|| | |++| +| +| -+|- |:| | + ++ + +e --+
+ -+ + |- |- ++ - +| + | |-e|+ ++ | +- |+-| | -|-| .|-- -|- +|
+|+|-c| + | |+ + + .| || | |+ +|| +| | +|+ .|+ | +- -|-|
+.:-+| + .+u =| + |+ |- --|- +-| + -| |++|- +| +-| .|-|
-+ | +: -|- +| -+ ++-| .:|- +- + |-| |--|-+ -,-| .:|- +|
--|- ++ +| +| +|+ +| +|+|e| + +-| |:| | | ++ --+ -- .| +|+, |- |
-|- + --+| -+ +- + ++ + + .+-+ | + +-+| +|+ +| +| | +-|
|+ +|-| + -| + -
:|-||- e--|:+-| -
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--+| +-+|- -| +| || +- + | ; +|e| + + +|- | -+|- , - + ; +| +, |+-|
+a -| ++| ;+ |-| + | --+ | --+ |--| +| --.:-- :u- +| + .|+
|+| - (.=+ |++ .+|+ ) | ++- +| || | ?
+ -+| ||+- - +| -
|: |-- +| +| |++-+ ++
- | +-|+|+|: -+- |+|--
|: |+| | + |+= |-| | -| + + | |:u|; : |-| -| .+| |+ +-| +| +-
|a+| -| |a+-| | -+ | |+ c|- +| | |++-| -| |-|
; .+| |=+ -+ + +- +-|-| -|| |+ |+ +|| +| +-+|, u-+ |- +| +|-|+
u-+ |- +| ;|-| | ++ +| ;|-| | --- |- + - +-+| +| ;|-|
-- +, + - ++|+-| +++ .|-| +-| |+ + |+ +|| +| + | :| |+- .:|- +-
+ |-| ++ - + |++| + + .:|- +
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+ | +-|-| cc-| -| | - +- + + |+u +| ||, +| | ||-+- +| |+|-|
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-|| + :| c+ + :-| -- +- |- += + +| +- ||- |+| + ++|| -|c+ :
+| .:-- + + :u- + -| --|- +|| |+-:|:|- |- += |:u|- + | -| |+|
+|| - |+ -+ - +|- --| | + | .:-- + + | + |--+ a| + :u+ +c+
++| --+| |- +| .|+ ;--| .+ | |+ | :-+ -c u | :u- + |+ |+-:||:-
| |+ |-++ : -||| +|-: + - + :||- + +|| +|- ++|- +- +| +,| +-|; -|
+|-: +| +--, | |+ ++|- + - + -+ + +- , +:| a|+ u| | +| | +|| |+-:|:|-
+ -| + -- +-+ | +| --+ |- + | -| | |||+ |++ + --+ |- +=
+ |+| + +| + +-|- , - +| +|-|++ -+-|+ + + | +; |+:-| | , +|| |+-:|:|-
+ +| + ++ + | -+|+| | |-+ |-+|| +~ |+| | + |+ + +| | - + +|| +|
-| -| |+| +- +|| +|- + |+:-| | +- +c-- |+| +- -- |:-| +
+-+| u |+ | +|| +- -+| | |+| +-+|| + -| + |- | + --+ +
| |+-+|a -| +- ; -u + +~ - + +| +| .|+ + |+ |-+ +|,
+|| -| + + | -+| +| ;a| |+ ;+| .|+ ++ - + | +- |- | | ||+
- ---|| + -| ;+| .|+ |+| | |-|
--+ -|-| -|| + a- +|| | ||-|| |-|- +| ++ |+ + -+ +||
|+-:|:|- .|-= .|+ |+| a +|| +|+| |+| +- |+ + -|+| +- | -- +|+| +|
+u- ++ +|-| |-| | |+ +|| |+-:|:|- - -- +|| +| +- :|-| + |;| + +|-
+-|+ |-- + -+ + +|+| + || | |+- + | + | +|| |+-:|:|- +| + + +-|-
--|- +-| -+ .|-= +- + |; a- +|| .|+ |+|
a- +|| + e --+ -| | + --+| |+| |++-| | +- -+|
+|:+ --+ | -+| +|- - --+ +- .|, + +| + +- |- | +:- +
| -| +-+| +| -+| :- +| |-| | +- + - + :||- --|- .|, + |+ c -+
-||-c-| +| .|+ ; .+| |+| |+ --|: |++| u| -+| +|:+ a- +|| || |+|
+| +|+| +|+-- ++ -| +| + +| +~ --+ | u-+ + |+-|+|: -|+ -+ ++
|+.+|. : -+ ;+ + |- +| + |+| - ;+ + ++ -- |+|-c + |+ | +|| - -|
-- +| ++ ,c |+|-| -| :| +- -|- + | + --- | +-| | --+| -| +|
+-+- -| :u- | | || |-| + +|+: | + ||+ +-| | |+= +|- -+
.-- +-
a- +|| - -| ; -- |+: | --| +|| + +||- | +:+ - ||+ || +-
|- +| +-++ |+:|- |:|
:| |, -- +|| | |- += + := +- -+ +| + --+| |- .:-- :u| , |
| :-+| + | |-+ | + + -+- +|+ | | |- .:-- + ++ +- +|- ||
-+ +|-|+ +-| || +- --|- +|| + -+| + | -; -| |++|- +| -:| +
| || + -- + | | - + +| | -| ; -- ; --+ |-+ +|+-- --+| |-+| +- +|
| + | +-|- | - + + | + -| | -| | | -| + | --+| -+-| +: -|- |
--+| |+|-- |+:|-
a +|| | +| +|--+ +- -|++ | + + -| | |+-+| + | - |- + |+
|- - --+| +-| -| |- +| --+| |+:|- , --+ + - + +||+-| |+|
a-:| + +|+-| + -+ + --+| + - e --| := - --+| |- += | :u- | |
|- + +-+|- + .:-+ |+ +|| - +- |+-| | -|-| +| | .+u |+-+-|| +| |-+ +
|- +| -| +| + -| ||+ |:| ;+ |-|, --|- +-| .|-| +- ++| + +| +
35
+-| |-| c|+ +|+ |++| |+| | +| + | |:u|; :-| |+ +|| | ; |-
+ +|-|++ .|-|-| , ; |++ + +- |+ - +- ||+ |+-| +| + + + + ++ -
++ + + -- |+| +| |+- + :-| -|-| |+ |+ +|| -+ | .|-|+ | --+|
-+ ++ + | | | + +| | -- | :u- +|, -+ | +|- |: u- + --+|
+-| |+= + +| a- +|| | +- + +~ |u| | - + - | ++ +
|+ +|| | +- |+-| + +| +c |- - + +| -| + |-+, +- + | -u +|
+|-+| :||-| +-| |, | ++ || +| | | +|| | |+ |+ +|| - +| - +|+ ++| |:
|; ++| a- +|| | - -- -| |~+| | + +- -| + |-+, +- + +|+ + + +
+|+ |+ + -| + + | --|- +- +| +| :|| |:| |-|| | :|+- + a-
+|| - + -|- +| +| | + |+ +|| - ;--| -+| + -| |- |+-| |+| +-| +
:|| |:| -| | |--|+- + a- +|| | +| |u| + u-| + | , - + + ++
;--| | + +| - +| +- |+ +|| +|| +|||+ +-|-- +-+| -+, |-=|
.:|- +- +| +- +|||+ | +| -+||-- |-| +-+| ++- +|-| + | + | .+
|+-| | -|+ -+ - ++|- +- -- |+- +-| - |---: -||| |- +
--|| |-- ., +~ +-|; |+ |++| - + |+-|+- | || ; .+| + +| ;+ |
--| |- |+| + +|-| +-| - | - +=|-| +| - +-
; .+| |+ +||, a- +|| | + .|-|+|- ++ |- + |-| |-- | a- +||
| +| :+ | c |++| | |+ --+ ++ |-- | +- + | .|, --+ |, |+ + +| |
-+| | (|+ +|| +| +|-||) +- +|- ++ +| |u|- + | -- - |+- +-| | -| +
|++| | +| +- -; + +a |-| ; +a | |u|- +| -- -| |+ +||
- +-| | +- |+-| +| |+|=|| | |++| +| +| -+|- |:| | + ++ + +e --+
+ -+ + |- |- ++ - +| + | |-e|+ ++ | +- |+-| | -|-| .|-- -|- +|
+|+|-c| + | |+ + + .| || | |+ +|| +| | +|+ .|+ | +- -|-|
+.:-+| + .+u =| + |+ |- --|- +-| + -| |++|- +| +-| .|-|
-+ | +: -|- +| -+ ++-| .:|- +- + |-| |--|-+ -,-| .:|- +|
--|- ++ +| +| +|+ +| +|+|e| + +-| |:| | | ++ --+ -- .| +|+, |- |
-|- + --+| -+ +- + ++ + + .+-+ | + +-+| +|+ +| +| | +-|
|+ +|-| + -| + -
:|-||- e--|:+-| -
.+| +- |+-:-+--
--+| +-+|- -| +| || +- + | ; +|e| + + +|- | -+|- , - + ; +| +, |+-|
+a -| ++| ;+ |-| + | --+ | --+ |--| +| --.:-- :u- +| + .|+
|+| - (.=+ |++ .+|+ ) | ++- +| || | ?
+ -+| ||+- - +| -
|: |-- +| +| |++-+ ++
- | +-|+|+|: -+- |+|--
|: |+| | + |+= |-| | -| + + | |:u|; : |-| -| .+| |+ +-| +| +-
|a+| -| |a+-| | -+ | |+ c|- +| | |++-| -| |-|
; .+| |=+ -+ + +- +-|-| -|| |+ |+ +|| +| +-+|, u-+ |- +| +|-|+
u-+ |- +| ;|-| | ++ +| ;|-| | --- |- + - +-+| +| ;|-|
-- +, + - ++|+-| +++ .|-| +-| |+ + |+ +|| +| + | :| |+- .:|- +-
+ |-| ++ - + |++| + + .:|- +
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+ | +-|-| cc-| -| | - +- + + |+u +| ||, +| | ||-+- +| |+|-|
| +-| |:| +- + | || .:-- | + |:u|| +- , + |, +- + + |--+ + +
-|| + :| c+ + :-| -- +- |- += + +| +- ||- |+| + ++|| -|c+ :
+| .:-- + + :u- + -| --|- +|| |+-:|:|- |- += |:u|- + | -| |+|
+|| - |+ -+ - +|- --| | + | .:-- + + | + |--+ a| + :u+ +c+
++| --+| |- +| .|+ ;--| .+ | |+ | :-+ -c u | :u- + |+ |+-:||:-
| |+ |-++ : -||| +|-: + - + :||- + +|| +|- ++|- +- +| +,| +-|; -|
+|-: +| +--, | |+ ++|- + - + -+ + +- , +:| a|+ u| | +| | +|| |+-:|:|-
+ -| + -- +-+ | +| --+ |- + | -| | |||+ |++ + --+ |- +=
+ |+| + +| + +-|- , - +| +|-|++ -+-|+ + + | +; |+:-| | , +|| |+-:|:|-
+ +| + ++ + | -+|+| | |-+ |-+|| +~ |+| | + |+ + +| | - + +|| +|
-| -| |+| +- +|| +|- + |+:-| | +- +c-- |+| +- -- |:-| +
+-+| u |+ | +|| +- -+| | |+| +-+|| + -| + |- | + --+ +
| |+-+|a -| +- ; -u + +~ - + +| +| .|+ + |+ |-+ +|,
+|| -| + + | -+| +| ;a| |+ ;+| .|+ ++ - + | +- |- | | ||+
- ---|| + -| ;+| .|+ |+| | |-|
--+ -|-| -|| + a- +|| | ||-|| |-|- +| ++ |+ + -+ +||
|+-:|:|- .|-= .|+ |+| a +|| +|+| |+| +- |+ + -|+| +- | -- +|+| +|
+u- ++ +|-| |-| | |+ +|| |+-:|:|- - -- +|| +| +- :|-| + |;| + +|-
+-|+ |-- + -+ + +|+| + || | |+- + | + | +|| |+-:|:|- +| + + +-|-
--|- +-| -+ .|-= +- + |; a- +|| .|+ |+|
a- +|| + e --+ -| | + --+| |+| |++-| | +- -+|
+|:+ --+ | -+| +|- - --+ +- .|, + +| + +- |- | +:- +
| -| +-+| +| -+| :- +| |-| | +- + - + :||- --|- .|, + |+ c -+
-||-c-| +| .|+ ; .+| |+| |+ --|: |++| u| -+| +|:+ a- +|| || |+|
+| +|+| +|+-- ++ -| +| + +| +~ --+ | u-+ + |+-|+|: -|+ -+ ++
|+.+|. : -+ ;+ + |- +| + |+| - ;+ + ++ -- |+|-c + |+ | +|| - -|
-- +| ++ ,c |+|-| -| :| +- -|- + | + --- | +-| | --+| -| +|
+-+- -| :u- | | || |-| + +|+: | + ||+ +-| | |+= +|- -+
.-- +-
a- +|| - -| ; -- |+: | --| +|| + +||- | +:+ - ||+ || +-
|- +| +-++ |+:|- |:|
:| |, -- +|| | |- += + := +- -+ +| + --+| |- .:-- :u| , |
| :-+| + | |-+ | + + -+- +|+ | | |- .:-- + ++ +- +|- ||
-+ +|-|+ +-| || +- --|- +|| + -+| + | -; -| |++|- +| -:| +
| || + -- + | | - + +| | -| ; -- ; --+ |-+ +|+-- --+| |-+| +- +|
| + | +-|- | - + + | + -| | -| | | -| + | --+| -+-| +: -|- |
--+| |+|-- |+:|-
a +|| | +| +|--+ +- -|++ | + + -| | |+-+| + | - |- + |+
|- - --+| +-| -| |- +| --+| |+:|- , --+ + - + +||+-| |+|
a-:| + +|+-| + -+ + --+| + - e --| := - --+| |- += | :u- | |
|- + +-+|- + .:-+ |+ +|| - +- |+-| | -|-| +| | .+u |+-+-|| +| |-+ +
|- +| -| +| + -| ||+ |:| ;+ |-|, --|- +-| .|-| +- ++| + +| +
37
distinction that graces her today. She has earned these palmy days with sheer grit and hard work. There
was many a crisis in her early life. She faced them all incredible patience. Where others would have
given up in utter despair, she stood her ground with indomitable will and strong determination and
won.
As I know her, Rohini is a restless soul. She feels lost without any active task on hand, and the greater
the challenge the better and happier she feels. Even her daily routine is one continuous bustle. She
must get up early, go through her yogic exercises, meditation, practice her dance and music, teach,
compose new items, read, write and attend to the correspondence all in one hectic pace day after
day. Idleness is a word unknown to her. Diligent occupation is her trait. I can never imagine her
stretched out in an arm-chair, sipping lemonade leisurely. Even when travelling between Bombay and
Pune on the Deccan Queen she is in the habit of rattling off her Kathak bols, clapping the timing,
absolutely oblivious to the quizzical smiles of the fellow passengers. It seems once she clapped so hard
on the 'sum' that the person who serves snacks on the train retraced his steps, asked her what she
would like to have, and Rohini in confused embarrassment ordered a cup of tea. This episode, though
humorous, shows her singleness of purpose and her deep involvement in her art. It will not be an
exaggeration if I say that she eats Kathak, drinks Kathak, and breathes Kathak.
Her thirst for knowledge is insatiable. She is always engaged in gathering information from various
sources on varied topics connected with dance and music, like a bee gathering honey from various
flowers. Later she analyses the material thus gathered, consulting others, if need be, and stores it for
use when the need arises.
Our guru-shishya relation was initiated with the first lesson in 1953, at 'Nritya Bharati', then situated on
the Laxmi Road (Pune). I had come to Bombay on a long leave with an idea of establishing a school
there, and Rohini grasped the opportunity.
I have nostalgic memories of those happy days. Pleasing fragrance of her favorite agarbattis greeted
me as I entered the room. There I used to see her in her impeccable white attire, breathless and
perspiring, engaged in perfecting the bols I had taught the previous day. Genial and portly Shri Appa
Jalgaonkar with his impeccable lehra on the harmonium and the young and budding Shri Chandrakant
Kamat on the tabla were the accompanists.
It is here that I came to know Rohini, as an obedient and assiduous student. Her quick grasp over
difficult parans and other rhythmic pieces was truly remarkable. Her stamina knew no bounds. Once
after an interesting and grueling session, I said, "I think we will call it a day. You look tired." "No, I am not
tired at all" , she replied. Without paying much heed to her remark I got up, ready to leave. To prove her
point she burst into a vigorous tatkaar which resounded as I left.
Rohini As I Know Her
Mohanrao Kalyanpurkar
It will not be
an exaggeration
if I say that
Rohini eats Kathak,
drinks Kathak, and
breathes Kathak.
Four decades have rolled by since I met Rohini for the
first time. Yet it seems that just yesterday that I - a
timorous teenager practicing her first steps of Kathak at
Shri Ranga Vithals dance school situated near Lakdi Pool
(Pune). That was our first meeting. A few years later I had
an opportunity of witnessing her performance with her
brood of pupils at a program arranged by the Kirloskars
at Harihar. Backstage she informed me that Shri Ranga
Vithal is no longer connected with the school and that
she has taken over all the responsibilities of running the
school. This was the seed she had sown of the big long
struggle ahead.
After a lapse of some more years, I met her again at
Gamdevi (Bombay). How are you getting on with your
dance and the school? I casually asked her. With tears
welling up in her eyes she blurted, That is my tragedy,
Mohanrao. I cannot find anybody who could teach me
and guide me further. I have to struggle with whatever
little I know and whatever comes my way through
observing other dancers. I was touched by her sincere
desire to gain more knowledge but being then
employed at the Morris College of Music (at present the
Bhatkhande College of Hindustani Music), I was not in a
position to help her.
Struggle- that is the keynote of Rohinis success. Few
persons how much she had to struggle to achieve the
37
distinction that graces her today. She has earned these palmy days with sheer grit and hard work. There
was many a crisis in her early life. She faced them all incredible patience. Where others would have
given up in utter despair, she stood her ground with indomitable will and strong determination and
won.
As I know her, Rohini is a restless soul. She feels lost without any active task on hand, and the greater
the challenge the better and happier she feels. Even her daily routine is one continuous bustle. She
must get up early, go through her yogic exercises, meditation, practice her dance and music, teach,
compose new items, read, write and attend to the correspondence all in one hectic pace day after
day. Idleness is a word unknown to her. Diligent occupation is her trait. I can never imagine her
stretched out in an arm-chair, sipping lemonade leisurely. Even when travelling between Bombay and
Pune on the Deccan Queen she is in the habit of rattling off her Kathak bols, clapping the timing,
absolutely oblivious to the quizzical smiles of the fellow passengers. It seems once she clapped so hard
on the 'sum' that the person who serves snacks on the train retraced his steps, asked her what she
would like to have, and Rohini in confused embarrassment ordered a cup of tea. This episode, though
humorous, shows her singleness of purpose and her deep involvement in her art. It will not be an
exaggeration if I say that she eats Kathak, drinks Kathak, and breathes Kathak.
Her thirst for knowledge is insatiable. She is always engaged in gathering information from various
sources on varied topics connected with dance and music, like a bee gathering honey from various
flowers. Later she analyses the material thus gathered, consulting others, if need be, and stores it for
use when the need arises.
Our guru-shishya relation was initiated with the first lesson in 1953, at 'Nritya Bharati', then situated on
the Laxmi Road (Pune). I had come to Bombay on a long leave with an idea of establishing a school
there, and Rohini grasped the opportunity.
I have nostalgic memories of those happy days. Pleasing fragrance of her favorite agarbattis greeted
me as I entered the room. There I used to see her in her impeccable white attire, breathless and
perspiring, engaged in perfecting the bols I had taught the previous day. Genial and portly Shri Appa
Jalgaonkar with his impeccable lehra on the harmonium and the young and budding Shri Chandrakant
Kamat on the tabla were the accompanists.
It is here that I came to know Rohini, as an obedient and assiduous student. Her quick grasp over
difficult parans and other rhythmic pieces was truly remarkable. Her stamina knew no bounds. Once
after an interesting and grueling session, I said, "I think we will call it a day. You look tired." "No, I am not
tired at all" , she replied. Without paying much heed to her remark I got up, ready to leave. To prove her
point she burst into a vigorous tatkaar which resounded as I left.
Rohini As I Know Her
Mohanrao Kalyanpurkar
It will not be
an exaggeration
if I say that
Rohini eats Kathak,
drinks Kathak, and
breathes Kathak.
Four decades have rolled by since I met Rohini for the
first time. Yet it seems that just yesterday that I - a
timorous teenager practicing her first steps of Kathak at
Shri Ranga Vithals dance school situated near Lakdi Pool
(Pune). That was our first meeting. A few years later I had
an opportunity of witnessing her performance with her
brood of pupils at a program arranged by the Kirloskars
at Harihar. Backstage she informed me that Shri Ranga
Vithal is no longer connected with the school and that
she has taken over all the responsibilities of running the
school. This was the seed she had sown of the big long
struggle ahead.
After a lapse of some more years, I met her again at
Gamdevi (Bombay). How are you getting on with your
dance and the school? I casually asked her. With tears
welling up in her eyes she blurted, That is my tragedy,
Mohanrao. I cannot find anybody who could teach me
and guide me further. I have to struggle with whatever
little I know and whatever comes my way through
observing other dancers. I was touched by her sincere
desire to gain more knowledge but being then
employed at the Morris College of Music (at present the
Bhatkhande College of Hindustani Music), I was not in a
position to help her.
Struggle- that is the keynote of Rohinis success. Few
persons how much she had to struggle to achieve the
39
This is a welcome publication as it answers a long
felt need for a neat and concise book giving
authentic information on the classical dance
styles of India. To my knowledge the earliest
attempt in this direction was made by the late
Prof. Venkatachalam somewhere in the late
thirties. It was, However, just a general survey
intended to acquaint the common man with the
existing classical dance forms of India. A decade
or so ago, Jr. Mulkraj Anand brought out special
numbers of Marg, carrying valuable and fairly...
The present 'slim' volume by Kapila Vatsyayan
contains a fund of information, considering the
size of the book. She has endeavored to explain in
just sixty-one pages (of its text of eight chapters)
the History of Dance, Theory and Technique,
Modern Dance and the History, Technique,
Repertoire, Movements and Abhinaya of Bharata
Natyam, Kathakali, Orissi, Manipuri and Kathak.
Though the author is factual and methodical
regarding information on all aspects of Classical
and Modern Dance, one feels she could have
been a little more elaborate in her elucidations.
The first two chapters on History, Theory and
Technique with references to the ancient texts
like Natya Shastra, Sangit Ratnakara and Abhinaya
A Book Review
By Mohanrao Kalyanpurkar
INDIAN CLASSICAL DANCE
By
Kapila Vatsyayan
Publications Division
Ministry of Information and
Broadcasting
Government of India, N. Delhi, 1974
Rs. 25.00 (In English)
B
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Those happy days unfortunately did not last long. I was recalled to Lucknow in 1954 as the U.P.
Government had decided to take over Marris College and my presence was considered essential by the
authorities. Poor Rohini was beside herself with grief and I had no words to console her. however, she is
not the type to be easily discouraged by adverse circumstances. A few months later, she followed me
and staying with her sister the late Dr. Mrs. Kalindi Mitter, visited Lucknow thrice a week and continued
her lessons. Once Shambhu Maharaj requested me to bring Rohini to his residence to participate in a
song and dance program he had arranged to celebrate some occasion I can't recall now. Rohini was very
much elated at the prospect of dancing at the residence of the great patriarch Maharaj Bindadin and
that too in the hallowed hall where Maharaj Bindadin himself performed and taught maestros like
Guru Accchan Maharaj, Guru Lachchu Maharaj, Guru Shambhu Maharaj, Guru Jailalji and Guru Sundar
Prasadji. She danced very well and the performance was acclaimed by all the connoisseurs present.
Rohini was so excited and nervous after the performance that as she was taking leave of Shambhu
Maharaj and backing out of the room she stumbled against a heap of shoes and thinking that she
stepped on someone's foot turned and did reverential obeisance much to the amusement of guru
Shambhu Maharaj.
As a teacher she has proved her mettle by turning out a number of really very good performing artists.
Some of her students are holding important posts and conducting classes at Panaji, Indore and Kanpur.
Babytai, as she is called in endearment by her pupils, is revered and loved by them and she in turn
teaches them with all sincerity and kindness. One has to watch her conducting her class to realize as to
how much pains she takes to make the pupils understand every detail of the movements and steps
being taught.
Our relation as Guru and Shishya has turned thirty one years and as I look back I have no regrets of any
sort. Rohini has proved her worth as an honest and commendable pupil. What I most appreciate in her
is her great regard for the tradition of Kathak. She has preserved it steadily without distorting it with
cheap gimmicks, and deserves all praise for this. every guru Purnima day she promises me personally
or through a letter that he will honour everything that I have taught her and I feel contented and happy
that she will. she always has my affectionate blessings and I pray God Almighty to give her success in all
her undertakings that will bring her more fame and glory.
How time flies! Rohini is sixty years of age! the other day on hearing this a friend of mine remarked
:Sixty! she looks as if she has just turned forty." "She is sixty" I assured him, chashmebaddur!
39
This is a welcome publication as it answers a long
felt need for a neat and concise book giving
authentic information on the classical dance
styles of India. To my knowledge the earliest
attempt in this direction was made by the late
Prof. Venkatachalam somewhere in the late
thirties. It was, However, just a general survey
intended to acquaint the common man with the
existing classical dance forms of India. A decade
or so ago, Jr. Mulkraj Anand brought out special
numbers of Marg, carrying valuable and fairly...
The present 'slim' volume by Kapila Vatsyayan
contains a fund of information, considering the
size of the book. She has endeavored to explain in
just sixty-one pages (of its text of eight chapters)
the History of Dance, Theory and Technique,
Modern Dance and the History, Technique,
Repertoire, Movements and Abhinaya of Bharata
Natyam, Kathakali, Orissi, Manipuri and Kathak.
Though the author is factual and methodical
regarding information on all aspects of Classical
and Modern Dance, one feels she could have
been a little more elaborate in her elucidations.
The first two chapters on History, Theory and
Technique with references to the ancient texts
like Natya Shastra, Sangit Ratnakara and Abhinaya
A Book Review
By Mohanrao Kalyanpurkar
INDIAN CLASSICAL DANCE
By
Kapila Vatsyayan
Publications Division
Ministry of Information and
Broadcasting
Government of India, N. Delhi, 1974
Rs. 25.00 (In English)
B
i
r
t
h


c
e
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t
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n
a
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y

c
e
l
e
b
r
a
t
i
o
n

b
y

N
a
d
r
o
o
p
Those happy days unfortunately did not last long. I was recalled to Lucknow in 1954 as the U.P.
Government had decided to take over Marris College and my presence was considered essential by the
authorities. Poor Rohini was beside herself with grief and I had no words to console her. however, she is
not the type to be easily discouraged by adverse circumstances. A few months later, she followed me
and staying with her sister the late Dr. Mrs. Kalindi Mitter, visited Lucknow thrice a week and continued
her lessons. Once Shambhu Maharaj requested me to bring Rohini to his residence to participate in a
song and dance program he had arranged to celebrate some occasion I can't recall now. Rohini was very
much elated at the prospect of dancing at the residence of the great patriarch Maharaj Bindadin and
that too in the hallowed hall where Maharaj Bindadin himself performed and taught maestros like
Guru Accchan Maharaj, Guru Lachchu Maharaj, Guru Shambhu Maharaj, Guru Jailalji and Guru Sundar
Prasadji. She danced very well and the performance was acclaimed by all the connoisseurs present.
Rohini was so excited and nervous after the performance that as she was taking leave of Shambhu
Maharaj and backing out of the room she stumbled against a heap of shoes and thinking that she
stepped on someone's foot turned and did reverential obeisance much to the amusement of guru
Shambhu Maharaj.
As a teacher she has proved her mettle by turning out a number of really very good performing artists.
Some of her students are holding important posts and conducting classes at Panaji, Indore and Kanpur.
Babytai, as she is called in endearment by her pupils, is revered and loved by them and she in turn
teaches them with all sincerity and kindness. One has to watch her conducting her class to realize as to
how much pains she takes to make the pupils understand every detail of the movements and steps
being taught.
Our relation as Guru and Shishya has turned thirty one years and as I look back I have no regrets of any
sort. Rohini has proved her worth as an honest and commendable pupil. What I most appreciate in her
is her great regard for the tradition of Kathak. She has preserved it steadily without distorting it with
cheap gimmicks, and deserves all praise for this. every guru Purnima day she promises me personally
or through a letter that he will honour everything that I have taught her and I feel contented and happy
that she will. she always has my affectionate blessings and I pray God Almighty to give her success in all
her undertakings that will bring her more fame and glory.
How time flies! Rohini is sixty years of age! the other day on hearing this a friend of mine remarked
:Sixty! she looks as if she has just turned forty." "She is sixty" I assured him, chashmebaddur!
41
A Book Review
By Mohanrao Kalyanpurkar
TRADITIONS OF
INDIAN CLASSICAL DANCE
By
Mohan Khokar,
Clarion Books, Delhi, 1979,
Rs. 95.00 (In English)
This book appears to be an attempt at
encompassing the entire range of Indian dance
styles. It is an impressive production, comprising
fourteen chapters along with a Prologue and
Indices under three heads.
The first three chapters (In the beginning, Dancing
Divinities and Down the Centuries) concentrate
on the origins of the dance, citing the usual
legends associated with its inception, the various
texts dealing with its exposition and its historical
development. Literary sources, inscription, the
observations of foreign travelers are all
mentioned to present as comprehensive a picture
as possible. But the very range of this historical
material precludes a detailed analysis and the
author himself confesses that the earlier part of
the chapter Down the Centuries is at best a
scrappy outline indicating key milestones in the
evolution and development of Indian art (p. 31).
The historical background is explained in a lucid
and interesting manner. But one wonders
whether it was at all advisable to devote almost
one fourth of the book to historical and source
material. In fact, a scholar like Mohan Khokar
could have planned two volumes to do justice to
his knowledge of the subject.
B
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c
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Darpana are very well-written and provide a lot of information. The charts are very helpful in assisting
the reader to understand and grasp the subject matter.
It is true that it is very difficult to put into mere words an essentially kinetic art form like dance. But line
drawings to illustrate the text would have helped the reader to understand better the technical side of
various dance styles. For example, while explaining the opening position Of the Bharata Natyam
dancer, she writes, "The line joining the two shoulders may be conceived as the base of one triangle
and the waist as the imaginary apex of an inverted triangle. From this apex a second triangle is
conceived with the thighs as the two sides and the line joining the two knees as the base of this triangle.
The third triangle is formed by the space covered by the two calves and the line joining the two knees.
The arms reinforce this by forming other triangles on either side - the extended arm forming one side of
the triangle and the line joining the hand to the knee suggesting the second side" (p. 17).
All this elaborate and confusing explanation could have been made more accessible to readers by a
simple line drawing. The reader could have at once visualized all that is being said.
While explaining the technique of the classical dances, it is but natural that the author had to resort
liberally to the technical terms in vogue and also to the terms used in the ancient Sanskrit texts. But it is
really very difficult for even a dance student to pronounce them correctly without Diacritical markings
or accurate transliteration. For example - Meities, Uman glais, Tanum, Javali, Tattakara, Alapadma,
Parana, Sol, Adavali, Araddi, Kalasam, Veluppu tadi etc.
Most of the seventy odd pages of photographs printed at the end do not in any way illustrate or
supplement the text. The pages illustrating the single hand hasta-s without the names and its viniyoga-
s do not carry any message. Furthermore they are captioned as Asamyukta Hasta-s whereas the correct
caption should be Asamyuta Hasta-s. (Illustrations 28 and 29.)
Finally, a glossary of the technical terms used would have served as an aid. Though the author has been
very careful to give the meaning of a term.
She says, "Finally, at a fast tempo, the dancer ends her recital either by a concluding araddi or by a quick
exit in uromandala haste". This again could have been illustrated by a line drawing, in case the inclusion
of a glossary had turned out to be too voluminous or difficult.
Perhaps the chapter on Modern Dance belies the title of the book. The author gives interesting
information on Gurudev Tagore, Uday Shankar, Menaka, Sachin Shankar, and Shanti Bardhan and
endeavours to show how these so called modern dances took inspiration from our classical styles.
The book will no doubt prove to be of immense help to dance students and to connoisseurs of the
classical dances of India.
41
A Book Review
By Mohanrao Kalyanpurkar
TRADITIONS OF
INDIAN CLASSICAL DANCE
By
Mohan Khokar,
Clarion Books, Delhi, 1979,
Rs. 95.00 (In English)
This book appears to be an attempt at
encompassing the entire range of Indian dance
styles. It is an impressive production, comprising
fourteen chapters along with a Prologue and
Indices under three heads.
The first three chapters (In the beginning, Dancing
Divinities and Down the Centuries) concentrate
on the origins of the dance, citing the usual
legends associated with its inception, the various
texts dealing with its exposition and its historical
development. Literary sources, inscription, the
observations of foreign travelers are all
mentioned to present as comprehensive a picture
as possible. But the very range of this historical
material precludes a detailed analysis and the
author himself confesses that the earlier part of
the chapter Down the Centuries is at best a
scrappy outline indicating key milestones in the
evolution and development of Indian art (p. 31).
The historical background is explained in a lucid
and interesting manner. But one wonders
whether it was at all advisable to devote almost
one fourth of the book to historical and source
material. In fact, a scholar like Mohan Khokar
could have planned two volumes to do justice to
his knowledge of the subject.
B
i
r
t
h


c
e
n
t
e
n
a
r
y

c
e
l
e
b
r
a
t
i
o
n

b
y

N
a
d
r
o
o
p
Darpana are very well-written and provide a lot of information. The charts are very helpful in assisting
the reader to understand and grasp the subject matter.
It is true that it is very difficult to put into mere words an essentially kinetic art form like dance. But line
drawings to illustrate the text would have helped the reader to understand better the technical side of
various dance styles. For example, while explaining the opening position Of the Bharata Natyam
dancer, she writes, "The line joining the two shoulders may be conceived as the base of one triangle
and the waist as the imaginary apex of an inverted triangle. From this apex a second triangle is
conceived with the thighs as the two sides and the line joining the two knees as the base of this triangle.
The third triangle is formed by the space covered by the two calves and the line joining the two knees.
The arms reinforce this by forming other triangles on either side - the extended arm forming one side of
the triangle and the line joining the hand to the knee suggesting the second side" (p. 17).
All this elaborate and confusing explanation could have been made more accessible to readers by a
simple line drawing. The reader could have at once visualized all that is being said.
While explaining the technique of the classical dances, it is but natural that the author had to resort
liberally to the technical terms in vogue and also to the terms used in the ancient Sanskrit texts. But it is
really very difficult for even a dance student to pronounce them correctly without Diacritical markings
or accurate transliteration. For example - Meities, Uman glais, Tanum, Javali, Tattakara, Alapadma,
Parana, Sol, Adavali, Araddi, Kalasam, Veluppu tadi etc.
Most of the seventy odd pages of photographs printed at the end do not in any way illustrate or
supplement the text. The pages illustrating the single hand hasta-s without the names and its viniyoga-
s do not carry any message. Furthermore they are captioned as Asamyukta Hasta-s whereas the correct
caption should be Asamyuta Hasta-s. (Illustrations 28 and 29.)
Finally, a glossary of the technical terms used would have served as an aid. Though the author has been
very careful to give the meaning of a term.
She says, "Finally, at a fast tempo, the dancer ends her recital either by a concluding araddi or by a quick
exit in uromandala haste". This again could have been illustrated by a line drawing, in case the inclusion
of a glossary had turned out to be too voluminous or difficult.
Perhaps the chapter on Modern Dance belies the title of the book. The author gives interesting
information on Gurudev Tagore, Uday Shankar, Menaka, Sachin Shankar, and Shanti Bardhan and
endeavours to show how these so called modern dances took inspiration from our classical styles.
The book will no doubt prove to be of immense help to dance students and to connoisseurs of the
classical dances of India.
43
qMVZ
B
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c
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t
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n
a
r
y

c
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a
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N
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r
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p
In Chapter Four, while discussing the basic vocabulary of dance, the author has defined the various
technical terms used in dance. He sums up in neat sentences the difference between tandava and
lasya; the concept underlying angaharas and karanas; the role of abhinaya, the element of
communication and projection in classical dance; the language of hastas which provides the dancer
with a veritable lexicon, through which he can express practically anything; the experience of rasa
resulting from the harmonious union and interaction of bhavas Which are for the most part
emotional and intellectual sensibilities that lie dormant within a person and that are responsive to
aesthetic stimuli.
The aspect of emotion and its expression in dance in the theme of nayak and nayika is also discussed at
length. The author rightly explains that nayakas and nayikas are not specific characters, or even
character types. They simply represent characters in different emotional states.
The writing is clear and accurate but the reader would have had a better understanding of a concept
like karana and angahara had the verbal definition been illustrated and reinforced by a picturization of
a whole movement in sequential order. This problem is, however, not restricted to this book alone but
confronts all works on dance.
The origins and development of each dance style and its off shoots are described in the subsequent
nine chapters. But there is no mention (in the body of the text) of some of the leading exponents of this
form. For instance, the section on Bharat Natyam contains no reference to Balasaraswati though her
picture is included among the three photographs of the exponent of this form. And since her name
does not appear in the text, it does not feature in the Index either. Mention of the leading exponents of
a style is absolutely essential because an acquaintance with the form is likely to begin with the
performance of an exponent rather than through a study of the historical origins of the form. That is
why any description of the evolution of a style is incomplete without a comment on how it is presented
and interpreted today by its eminent practitioners.
This omission appears particularly strange in the light of the contents of the last chapter, The Free
Dance. This chapter includes the names and experiments of several dancers of far less stature than the
leading exponents of classical dance. How can these references to them be defended when the author
in the last sentence of these chapter himself admits that their activities are rudderless ?
The indices are very useful because they are listed under various subject heads. But once again the
omission in the text of the names of various leading exponents of the classical styles results in the
absurdity of Sachin Shankar, Yogerndra Desai and Zohra Segal being listed and Balasaraswati , Shambhu
Maharaj and Kunju Kurup being left out.
One would have expected in this book the inclusion of better illustrations and photographs from the
collection which the author is known to have laboriously built up through the years.
As a compact summary of Indian dance style, this book should find a place in libraries and the private
collection of serious students of the dance.
43
qMVZ
B
i
r
t
h


c
e
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t
e
n
a
r
y

c
e
l
e
b
r
a
t
i
o
n

b
y

N
a
d
r
o
o
p
In Chapter Four, while discussing the basic vocabulary of dance, the author has defined the various
technical terms used in dance. He sums up in neat sentences the difference between tandava and
lasya; the concept underlying angaharas and karanas; the role of abhinaya, the element of
communication and projection in classical dance; the language of hastas which provides the dancer
with a veritable lexicon, through which he can express practically anything; the experience of rasa
resulting from the harmonious union and interaction of bhavas Which are for the most part
emotional and intellectual sensibilities that lie dormant within a person and that are responsive to
aesthetic stimuli.
The aspect of emotion and its expression in dance in the theme of nayak and nayika is also discussed at
length. The author rightly explains that nayakas and nayikas are not specific characters, or even
character types. They simply represent characters in different emotional states.
The writing is clear and accurate but the reader would have had a better understanding of a concept
like karana and angahara had the verbal definition been illustrated and reinforced by a picturization of
a whole movement in sequential order. This problem is, however, not restricted to this book alone but
confronts all works on dance.
The origins and development of each dance style and its off shoots are described in the subsequent
nine chapters. But there is no mention (in the body of the text) of some of the leading exponents of this
form. For instance, the section on Bharat Natyam contains no reference to Balasaraswati though her
picture is included among the three photographs of the exponent of this form. And since her name
does not appear in the text, it does not feature in the Index either. Mention of the leading exponents of
a style is absolutely essential because an acquaintance with the form is likely to begin with the
performance of an exponent rather than through a study of the historical origins of the form. That is
why any description of the evolution of a style is incomplete without a comment on how it is presented
and interpreted today by its eminent practitioners.
This omission appears particularly strange in the light of the contents of the last chapter, The Free
Dance. This chapter includes the names and experiments of several dancers of far less stature than the
leading exponents of classical dance. How can these references to them be defended when the author
in the last sentence of these chapter himself admits that their activities are rudderless ?
The indices are very useful because they are listed under various subject heads. But once again the
omission in the text of the names of various leading exponents of the classical styles results in the
absurdity of Sachin Shankar, Yogerndra Desai and Zohra Segal being listed and Balasaraswati , Shambhu
Maharaj and Kunju Kurup being left out.
One would have expected in this book the inclusion of better illustrations and photographs from the
collection which the author is known to have laboriously built up through the years.
As a compact summary of Indian dance style, this book should find a place in libraries and the private
collection of serious students of the dance.
45
A fellow of Sangeet Natak Akademi and Recipient of President's Award
45
A fellow of Sangeet Natak Akademi and Recipient of President's Award
47
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|+| ; -||+ +~ + ++ +|- |+-|| +| + ++|, | -|+ |+| ++ --+ + |++
+, -+, -+|, -|, c+, +-++, +|+-, |+:-c|c--c|- ||: | -||-++-+|||++
-|| +| .+||- .|+ |- +| |+-| |-|+- ;
-+ + | -|- +:=+| |- -- -- +|| + |, | -| -+|:+-| | |-+||:+|:+
+|| + | +|- +:=+| |- |u| + -|- -| + + -+| + -| + +| | --
|. |u|| +| -+| + +- ++ +| |+ |-| | ++ +|+ (+ +|+| + |), :+-,
|-+-, -|+- ||: |+-+| +| | +- c+ -+ | |+ -+ ||+ -+ | +-| |
| -|+ | +|| +| -+| +, .+- +|| + |--| | +~ +~+| , -+| + +- +
+|-|+| + |-:-- +| | :-|
+. +|-|+| +-|++ ++ +- + + |--+|-
,-c| + +~ |- +|+ + +|-|, +: |
|+-||+|, +u, |+-|, -|-- | +||- .+|-
+ |- -+|- +| | +-, -|- |+-
| +|- + .|- |- +:-|=+ +|+| +
+. +|-|+| -+| a| +| - |-| + | -
++ --+| | --| |, + + a .|+|-+
|-|+|:+ --|- ++; + --|: +-+: u| |+
+| a|-u|| -||+ +|| |
|-| + :|| + + - - | + + u|-:|-|,
|-:| --+, +|:+ -| -| | - -|+ |
+|++| +|- |+ + --+| -||+ +
+. : .|: | + |-:-- + | -+ -+|-- +
+. a- +|| -| +. - +||, ;- u-+ |-
+ |-|| + -| + ; +||+- + | ;-
|-| + +|++ - + + | --|- ;-
|-| +| u||-| +| +- --- + -| +-|
|-=|+,|- + +-+ | ||
- +- --, + ++| + +. +|-|+| +| -+
| --+| +-+- --+ -|-| + +|-+ +|| +
+-+-| +| + ++ a || +| a|c| -+ + | :|:|,
~+-|,-++ ||: -| +|+ - +|--||: +|-
.+|| +| | +- +- +| =+-| u- --+| |-=|
n. _mohZamdOr H`mUnwaHa
OrdZr VWm Hm`
lr_Vr amo{hUr ^mQ>o
KamZm| Ho Xm`am| _o
~Yo hE Z ahVo ^r
do EH ImZXmZr,
KamZoXma ZVH, dmXH VWm
em`a ^r Wo &
AV "Zm`H' `m "dmJo`Hma'
HhbmZo bm`H Jw Wo &
47
++; + |++|- |+ -| c ~|+ + + ;
++; + -,- + |+-|- +. +|-|+| - +. : .|:| +| -| +. - +|| +| - :u| |
.||+- | + +| -+ --|- +- +-| + --+ +-- +| +|-+| c|- | |++-|- ++; +
+|+-| +|: + +| | -+| +. : .|: | +| +| -||+ --+| -+ ; | -|-=
|| - | ++ | +-|-, ||, | .+-| ;--| -: |-| | +|, +| +| |-=| | |+
-+ ++| |c +-- +| |+|=| +| +| +| +| |+| | | |+-- |+| |++ +|
+|| -| +:| ;
+. +|-|+| --+|, | --|-|-| u| -||+ | | ;| +| a --+ +-- + --
: -| +| | --|- +- |. + +| ;a| + -| -, + ++; + +|+:+| +| + - +|
.|-= :- + | + | ||+- +| | +| -|+ +. : .|: | +| ;a| + -| |+:||:-
+ |+ ++ |- u| +| ;| | ; | +| -+ ++ +| +| | - + +
+| |+| |. . | + | ; + + +. +|-|+| -| -+||- |+-+ :|+|| |
-|-| +-- | + +. : .|:| | -|+ -|-| +-- |+:||:- + +| +| +||
-||+: |
+. +|-|+ | + -+ |-| |u :| -+ ++ +| -||+ - | | | | | |+:||:-
+ +| -|- +|, a|+| +| |u|- +| | |-+:|| --+ +| + | -, -+ | c|+ -|+
+|- | +-- |+| +|+- |-| |+|| | ++ |-| | -|: ++ - ---|
|+|. -| | +| | +| ||+ -+|- |-| | | ;| :||- |. |-|-+ |+
+. +|-|+| +| + |-++ |+| u-+ |- + |
|. |-|-+ u-+ + +| +| |+ |:-|-| -|+ + -|+ --|- +. +|-|+| +|
|+-| | + - |+|+ + .+u +: |- + | u-+ +| || +| +| +| -|+ |+
-+ |-u +| |+ |:-|-| -|+ u| +| + -| |-| +. +|-|+| + | u
+| +-| .|-| + .+|- | |++| + | --+| + |+-- - =+ |+| +|+ --+| ++; a|
u-+ - |-| +|| |+:||:- + |+ ++ |- + | +- | +-:|+ |, | |
; - +. : .|:| + |-:-- + ||+- |- :- + + - |+| +| ;|-| ;
-, + +|+-+|+ -c -+ +. +|-|+| u-+ + |- + +| ++ +
+. +|-|+| + .-| +-|, + |+||| + | +| |+|:- ++ +|c++ | --|- |-u
+| + -| |+| | --- .-| + || --+| .|-| +| :| +- | - ||+| +| + -| |
+| + ||- +|- ||: -| +| .+||+-|,-||, +|-, ++, --+ ||: +|- |+|| +|
++ + - |+|- + -+ + +|+|,+|+-, :|| +|-+| +| c+|-|+ + |+-| + | +||+
+|+ .|+, +- || +|-|+|| --|- -| | --+ -+|+ + | |--|,|--|| +| +|+:--
|+|
-|+ +. +|-|+| +| - + | -||+ -- + --, -+ u|--u|- -+ + +~
|+| ; -||+ +~ + ++ +|- |+-|| +| + ++|, | -|+ |+| ++ --+ + |++
+, -+, -+|, -|, c+, +-++, +|+-, |+:-c|c--c|- ||: | -||-++-+|||++
-|| +| .+||- .|+ |- +| |+-| |-|+- ;
-+ + | -|- +:=+| |- -- -- +|| + |, | -| -+|:+-| | |-+||:+|:+
+|| + | +|- +:=+| |- |u| + -|- -| + + -+| + -| + +| | --
|. |u|| +| -+| + +- ++ +| |+ |-| | ++ +|+ (+ +|+| + |), :+-,
|-+-, -|+- ||: |+-+| +| | +- c+ -+ | |+ -+ ||+ -+ | +-| |
| -|+ | +|| +| -+| +, .+- +|| + |--| | +~ +~+| , -+| + +- +
+|-|+| + |-:-- +| | :-|
+. +|-|+| +-|++ ++ +- + + |--+|-
,-c| + +~ |- +|+ + +|-|, +: |
|+-||+|, +u, |+-|, -|-- | +||- .+|-
+ |- -+|- +| | +-, -|- |+-
| +|- + .|- |- +:-|=+ +|+| +
+. +|-|+| -+| a| +| - |-| + | -
++ --+| | --| |, + + a .|+|-+
|-|+|:+ --|- ++; + --|: +-+: u| |+
+| a|-u|| -||+ +|| |
|-| + :|| + + - - | + + u|-:|-|,
|-:| --+, +|:+ -| -| | - -|+ |
+|++| +|- |+ + --+| -||+ +
+. : .|: | + |-:-- + | -+ -+|-- +
+. a- +|| -| +. - +||, ;- u-+ |-
+ |-|| + -| + ; +||+- + | ;-
|-| + +|++ - + + | --|- ;-
|-| +| u||-| +| +- --- + -| +-|
|-=|+,|- + +-+ | ||
- +- --, + ++| + +. +|-|+| +| -+
| --+| +-+- --+ -|-| + +|-+ +|| +
+-+-| +| + ++ a || +| a|c| -+ + | :|:|,
~+-|,-++ ||: -| +|+ - +|--||: +|-
.+|| +| | +- +- +| =+-| u- --+| |-=|
n. _mohZamdOr H`mUnwaHa
OrdZr VWm Hm`
lr_Vr amo{hUr ^mQ>o
KamZm| Ho Xm`am| _o
~Yo hE Z ahVo ^r
do EH ImZXmZr,
KamZoXma ZVH, dmXH VWm
em`a ^r Wo &
AV "Zm`H' `m "dmJo`Hma'
HhbmZo bm`H Jw Wo &
49
|+++|+-| .-- |+|, | ++ + +-|+ + |||- | +~ | .|+ +- +++ +-|
|. |-|-+| - ; --| +| +|- |-:-- |+| | +|-|+| +| |u| - .+-+ |
+:- |+ | |+|+| +| +|-|+| - | || +|| | +|-, |-|, -, |-:-- |
.-|- ++a +. +|-|+| - | |-|| | | - .|+ +| .| +|+| + |, || +|
+:- +| +||+| +- :u|
-,--, + |-+| ++; + + +|-|+| +| - |+-| +| -| | -, + + u-+ +-
+ -, + +|+-+|+ - -+ +|-|+| +| +| u-+ + | ; :| +| +
+. +|-|+| - u-+ + |+ -c | | -+|-| +| -| |-u +| + .|-| +. |-|-+|
+| .| - ++ ++ - |+||- - + |u|- + | ++ - +| +| +|c++ |-+|
|+|, | :| .-| + ||, +|c++ + -|- + ||--+|--+ ||: -|-|+ |+|:- -| +|
|+-| .= .+| + :| + || -||, ++, |++c, --+, +|- ;- +|- |+|| +| ++ +
--+|+|- + +|+| |+| +|+-|, :||, ;- +|+| +| c+|-|+ + |+-| + | +||++|+
.|+ |+, | --| + =+ + +a +||:- .|+ | --|-| |+ |+| |-:- + + | + -+|
u-+ + +- ,, || + |-+| + :||- | +|-|+| - | | -+|-| +|| +| |-| |
-|:++ |+|-- |-:+ -|++ + +| |:| + |+|-- |+| | +|- + +-| ++ - |-|
+ | +- +| + |+-, +| | |+:|- + +| + | ++ + ++|+|- + +| + + + |u-
-c +. +|-|+| ++ : | ++; + -.|.+|.. (National Centre for Performing Arts) +
++ + +|-: ++ |- + +|- |-- .|--| +| |++ +|+| + +|+:-- +- --|-
+:|+|:, |:-|, |+| | ++; + +|-||| +| --|- |+| + |-++ + --+ -||+: +|-
, | | +|-
| +|-|+| +| --+ ++u| ||+-+| + -++ + +; ++|| -+||-- |+| +| ;-+
|-c+|- ++|, -.... -|. +|:+| ++|, +-|c+ . -|. +|:+| ++| -| ++-| -|- +|
. -|. +|:+| +| +||-+ .+u
-- + +- |+- +| +a - -|+ +. +|-|+| +- +|+| |- +-|c+ + +| + |+-||
+| + |+-|| +| + | --+| :u: + ; + - +|,, +-+-| .+, ++|, +||+|, +|-
++ + -c + +-|+|+ + +|+ --+| -|+ |-+ | | + |--- .| + +
||+- ||+- +|..
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+. +|-|+| + + + -|+-- --|+|-|+ +|:- | + +|+||+ +| +|:-| + .+| , +| , |
;- +|:-| + +|c +| --+| :| | +|, |+-, |-- | resonant | +|:-| + --+-
|+-| -| -|:|-|-, +| | +- |+ | ++ +| +|:-| +| |+| + -++, -|u
|+| |+| |-| , -+ |-| ; |+| + + - |+---- |- |, -|:|--|:| +| +
+||| |-+| |-| -| +| -|-- ;- +|=| + -+--+ +| -|| :- +|
+|- -|+ --||+ - -| | + ++ |+ =| +| | -|:|+-+| +| + |-| ,
-| +| +| +| -- c|c -| | + -|u| +|-+,+ +:| + :-| ;- + |-+| +| u|-|
| +. +|-|+| - + | u| |:|
++|+- |+-- .-|- +|+--+|+-|| +| | +| + +| + | --+ :| -|- -| + + ++|-
++u++ | |~+-|@- ++|, ~|+- +| |+c-+ ||+| +-+- +
+++|+- , -| u|-| | |+|-| + |-- +||+ |
.-|- +-+-|| +| | -| +|-|+ | + +| | ;-+ .+u | -|+|| -| ++|-
+-| -|+|| +| --| + ++ -|--|, ~+-| +|, -|-|, -++ | -c++ ;-
a -|| + c+| +| ||+| .-- |- cc +|+|| +| + -|+|| |: |-| |. |+-
-|| |-|-+ |+ - ; -|+|| + | -- a -|| + -|+ ++ + |++|| -++| (-:||-
+|:-) +-|:| | |. +|-|+| + |-:-- + +- -|--| | -|+|| :| -||-+|+| |++c
- |+|, | +|+| +| | | -+ | ;- -|| + |---- +--+- + .-- -| +-+
+| |-+| |, |+| +|- +| +| +||-- | | ||
+-|+| + | |-=| +~ |+|, -+ +|u--||, || | +|||:+- + ++ +-+ +
-+| -- :|--|- |-+| | +- -- |u| , |-+ | +|-|+| +| |-+ |u -c-| |
|- += + +|-|+ | - | + ++ |--- c+ +. |+:||:- +||-|+|-- -c+:|
-+, ++ +~ |u|| | |+-- || +|:, ;--| a| +| |-:-- +~ |- + | |+| --, |
| |, |+ +-|-+||, | .||- +| +| u -| | ;- --| + || +| |+ +| |--||
++- + :u ++ ;- :| --|| + | +~ + +-+-|.+ |-c -| |-c+| |+| ++
+ |-+= + -+||+| +| .|+ .|+|-+ | |-| | |+- |+-|| +,
+|| +, +-| + |+|, +|-, ++ ||: + |+- (feel |- ) | |-||- |-| , ;- -| +
+ .|+ +| -+ | +~ ; |-=| ++ + :||- | =+ + | +| ++ - |-=| +| |+
+|-, | |+-+- |. +|-|+| + +|+:-- + | + + | |+ + -| , + -- +-,
.|-|=-, +| ++ --+ | + +. : .|: | + | u-+ + |- |- + +|: +. a-
+|| | +. - +|| |-|| + -| + --+| - - |
-, + u-+ |- + +|: +. +|-|+| +| +| - +|++ | +-| + ; +|++ + |
.|: | |+| +, +u|+ + | |+||-+ | | -+ + +c + | || | | +- +-
+ .-|- +- | +|+|+, -+| | | ;+ -- +|: +|-| - +|++| +| ~|
+| + +|- | + | |-+-+ |- + +||, .-|++c, ;||+|: -| u-+ + +.
+|-|+| +- +| -|- |-u |-+|c| + -| | |+-| +| +| + |, |+ +. +|-|+
+ - +| + |-| - +|| | - -+ + | +- +| -|- |:-| +| ; +|- | + + + +
+ |:- -|+ +|-|+|, : |:- +. - +||| | -| |:- +. a-+||| -|-
+ ++ - .--| + |+|, ||+ +- + | |-:- |+| , --| + =+ + | +. +|-|+|
- +a .|+ |+ -+--| --+| +| + --|c | + + c| | +| |+-c| +|
+| | -+--| +| ; .+-+ + +|: | +|-|+| - | -:-+| .| .|+ ++ 'War and
Peace' -|+ + + + +| --| +|, |+ |-u +| + : -||++, |. +|-|+| +
|+|, -| +. a- +|| | + +cc|-- | |+++ || God of War +| | +|-|+| God
of Peace +| |++| |-|- .-|- + -- |+-c +| | ;+ +|: +|-|+| - --,--- +
49
|+++|+-| .-- |+|, | ++ + +-|+ + |||- | +~ | .|+ +- +++ +-|
|. |-|-+| - ; --| +| +|- |-:-- |+| | +|-|+| +| |u| - .+-+ |
+:- |+ | |+|+| +| +|-|+| - | || +|| | +|-, |-|, -, |-:-- |
.-|- ++a +. +|-|+| - | |-|| | | - .|+ +| .| +|+| + |, || +|
+:- +| +||+| +- :u|
-,--, + |-+| ++; + + +|-|+| +| - |+-| +| -| | -, + + u-+ +-
+ -, + +|+-+|+ - -+ +|-|+| +| +| u-+ + | ; :| +| +
+. +|-|+| - u-+ + |+ -c | | -+|-| +| -| |-u +| + .|-| +. |-|-+|
+| .| - ++ ++ - |+||- - + |u|- + | ++ - +| +| +|c++ |-+|
|+|, | :| .-| + ||, +|c++ + -|- + ||--+|--+ ||: -|-|+ |+|:- -| +|
|+-| .= .+| + :| + || -||, ++, |++c, --+, +|- ;- +|- |+|| +| ++ +
--+|+|- + +|+| |+| +|+-|, :||, ;- +|+| +| c+|-|+ + |+-| + | +||++|+
.|+ |+, | --| + =+ + +a +||:- .|+ | --|-| |+ |+| |-:- + + | + -+|
u-+ + +- ,, || + |-+| + :||- | +|-|+| - | | -+|-| +|| +| |-| |
-|:++ |+|-- |-:+ -|++ + +| |:| + |+|-- |+| | +|- + +-| ++ - |-|
+ | +- +| + |+-, +| | |+:|- + +| + | ++ + ++|+|- + +| + + + |u-
-c +. +|-|+| ++ : | ++; + -.|.+|.. (National Centre for Performing Arts) +
++ + +|-: ++ |- + +|- |-- .|--| +| |++ +|+| + +|+:-- +- --|-
+:|+|:, |:-|, |+| | ++; + +|-||| +| --|- |+| + |-++ + --+ -||+: +|-
, | | +|-
| +|-|+| +| --+ ++u| ||+-+| + -++ + +; ++|| -+||-- |+| +| ;-+
|-c+|- ++|, -.... -|. +|:+| ++|, +-|c+ . -|. +|:+| ++| -| ++-| -|- +|
. -|. +|:+| +| +||-+ .+u
-- + +- |+- +| +a - -|+ +. +|-|+| +- +|+| |- +-|c+ + +| + |+-||
+| + |+-|| +| + | --+| :u: + ; + - +|,, +-+-| .+, ++|, +||+|, +|-
++ + -c + +-|+|+ + +|+ --+| -|+ |-+ | | + |--- .| + +
||+- ||+- +|..
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+. +|-|+| + + + -|+-- --|+|-|+ +|:- | + +|+||+ +| +|:-| + .+| , +| , |
;- +|:-| + +|c +| --+| :| | +|, |+-, |-- | resonant | +|:-| + --+-
|+-| -| -|:|-|-, +| | +- |+ | ++ +| +|:-| +| |+| + -++, -|u
|+| |+| |-| , -+ |-| ; |+| + + - |+---- |- |, -|:|--|:| +| +
+||| |-+| |-| -| +| -|-- ;- +|=| + -+--+ +| -|| :- +|
+|- -|+ --||+ - -| | + ++ |+ =| +| | -|:|+-+| +| + |-| ,
-| +| +| +| -- c|c -| | + -|u| +|-+,+ +:| + :-| ;- + |-+| +| u|-|
| +. +|-|+| - + | u| |:|
++|+- |+-- .-|- +|+--+|+-|| +| | +| + +| + | --+ :| -|- -| + + ++|-
++u++ | |~+-|@- ++|, ~|+- +| |+c-+ ||+| +-+- +
+++|+- , -| u|-| | |+|-| + |-- +||+ |
.-|- +-+-|| +| | -| +|-|+ | + +| | ;-+ .+u | -|+|| -| ++|-
+-| -|+|| +| --| + ++ -|--|, ~+-| +|, -|-|, -++ | -c++ ;-
a -|| + c+| +| ||+| .-- |- cc +|+|| +| + -|+|| |: |-| |. |+-
-|| |-|-+ |+ - ; -|+|| + | -- a -|| + -|+ ++ + |++|| -++| (-:||-
+|:-) +-|:| | |. +|-|+| + |-:-- + +- -|--| | -|+|| :| -||-+|+| |++c
- |+|, | +|+| +| | | -+ | ;- -|| + |---- +--+- + .-- -| +-+
+| |-+| |, |+| +|- +| +| +||-- | | ||
+-|+| + | |-=| +~ |+|, -+ +|u--||, || | +|||:+- + ++ +-+ +
-+| -- :|--|- |-+| | +- -- |u| , |-+ | +|-|+| +| |-+ |u -c-| |
|- += + +|-|+ | - | + ++ |--- c+ +. |+:||:- +||-|+|-- -c+:|
-+, ++ +~ |u|| | |+-- || +|:, ;--| a| +| |-:-- +~ |- + | |+| --, |
| |, |+ +-|-+||, | .||- +| +| u -| | ;- --| + || +| |+ +| |--||
++- + :u ++ ;- :| --|| + | +~ + +-+-|.+ |-c -| |-c+| |+| ++
+ |-+= + -+||+| +| .|+ .|+|-+ | |-| | |+- |+-|| +,
+|| +, +-| + |+|, +|-, ++ ||: + |+- (feel |- ) | |-||- |-| , ;- -| +
+ .|+ +| -+ | +~ ; |-=| ++ + :||- | =+ + | +| ++ - |-=| +| |+
+|-, | |+-+- |. +|-|+| + +|+:-- + | + + | |+ + -| , + -- +-,
.|-|=-, +| ++ --+ | + +. : .|: | + | u-+ + |- |- + +|: +. a-
+|| | +. - +|| |-|| + -| + --+| - - |
-, + u-+ |- + +|: +. +|-|+| +| +| - +|++ | +-| + ; +|++ + |
.|: | |+| +, +u|+ + | |+||-+ | | -+ + +c + | || | | +- +-
+ .-|- +- | +|+|+, -+| | | ;+ -- +|: +|-| - +|++| +| ~|
+| + +|- | + | |-+-+ |- + +||, .-|++c, ;||+|: -| u-+ + +.
+|-|+| +- +| -|- |-u |-+|c| + -| | |+-| +| +| + |, |+ +. +|-|+
+ - +| + |-| - +|| | - -+ + | +- +| -|- |:-| +| ; +|- | + + + +
+ |:- -|+ +|-|+|, : |:- +. - +||| | -| |:- +. a-+||| -|-
+ ++ - .--| + |+|, ||+ +- + | |-:- |+| , --| + =+ + | +. +|-|+|
- +a .|+ |+ -+--| --+| +| + --|c | + + c| | +| |+-c| +|
+| | -+--| +| ; .+-+ + +|: | +|-|+| - | -:-+| .| .|+ ++ 'War and
Peace' -|+ + + + +| --| +|, |+ |-u +| + : -||++, |. +|-|+| +
|+|, -| +. a- +|| | + +cc|-- | |+++ || God of War +| | +|-|+| God
of Peace +| |++| |-|- .-|- + -- |+-c +| | ;+ +|: +|-|+| - --,--- +
51
+- a| +|- , | + |-| | +| || +|- , -+ +| -| +-| | +- :++ +|- -
+ +- |+- |, + -- -: | +|| |+|+ |
+ | - -: .|:| + + ++ +| |-=| + +| -| +|: + u-+ |- + a- +|| |
-| - +||| |-=| | + +|; |-:| +|+| -| --+ + +|; - +-| | -| |,
+ --+| -|+ -- - +| | u|- || --+ + + + -| u-+ |-| +| -: +|+-
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PmoHm| go CS> aho h
`mXm| Ho no
gwlr nX_m e_m
...Eogo hr {dbjU `{
AmVo h Ama Mbo OmVo h,
dV Hs emI ah OmVr h
`mXm| Ho nVo Qy>Q> OmVo h,
BZ nVm| Hmo gOmoE aIZm
h_mam HV` ~Z OmVm h,
Vm{H Omo nmm| na {bIr `mX| h,
do AmJo Hs nrT>r Hm _mJ
X{eV HaVr ah| &
51
+- a| +|- , | + |-| | +| || +|- , -+ +| -| +-| | +- :++ +|- -
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PmoHm| go CS> aho h
`mXm| Ho no
gwlr nX_m e_m
...Eogo hr {dbjU `{
AmVo h Ama Mbo OmVo h,
dV Hs emI ah OmVr h
`mXm| Ho nVo Qy>Q> OmVo h,
BZ nVm| Hmo gOmoE aIZm
h_mam HV` ~Z OmVm h,
Vm{H Omo nmm| na {bIr `mX| h,
do AmJo Hs nrT>r Hm _mJ
X{eV HaVr ah| &
+| +|- -|- | +| + |+ | + +|+| +-|++| | - ++ - +| :| +||- .|-=
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++ ++|-
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53
+|c- | :+| - :++-| -|, +| +|-|
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+| +|-|+|| + |- | +, +- | |+-|| + |-+-,
+ |+= |-++ |+| +|- +|+ | +- |
+|, +| -+ ++ -|+ |-| , | | + +|-
+c + +- + + u| +|-|+ +-|++ |
++ +- +| + +|- |+|- -- + -
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+||+| + |+-|: +| +|=| --| + -+| | |
- |-+ + +- .+- || | -+ -+ --+| |+||
+|| +| +-|+-||-+ .|+ + |+||| + + -+| |,
|| | | + ++ + +|- + -| |u- +|
-| | + |, --+| +=| + .+- +- | +|
--|- +| +| +| + |-+| + +- |-|
| c c +| |:| | +||+ +|
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+ :| ++ + .|-= +| + -+c -+|-- |-|
--+ |+| - + +|a |a+ --+ |-+ +| |
+ |- +|, -+ + |+- || --+ +|+ +|+|
,: +| + , , -:| ++, | |- +|
|+|- +|-+ + |- +| ++ .|-|-c- +-|
-+ + +| |-|+|:, |+| + | ++ +|+
_mohZamd H`mUnwaHa
`mXm| Ho PamoIo _|
gwlr ny{U_m nmS>o
Hwbn{V, ^mVIS>o gJrV gWmZ,
g_{dd{dmb`, bIZD
mohZamdOrHs HwemJ~w{ Ama
HbmZw^y{V Hs aMZm_H j_Vm Ho
gm_O` Ho \bdn BZ XmoZm|
KamZm| Hs ebrJV {deofVmAm| Hm
_{UHmMZ g`moJ
CZHs Z` ebr Ama
aMZmAm| _| {_bVm h &
+| +|- -|- | +| + |+ | + +|+| +-|++| | - ++ - +| :| +||- .|-=
+ + |- + |+|- + +. -: .|: | --+| - + + | .|+ |+| -+ +|:
u-+ |+ u-+ |- + -+||- .|-|-c- - .+-+ +. a- +|| | + |-+c || +
|+|+- + |+| --+| +-|++|, | +|-|- +| --|++ =+-| + |+ + +++ ;-
:|-| |-| +| -|+- |+-+-|| +| +|+|-- |+ --+| - -| | --|| + |+-|
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++ ++|-
+-|++ | +| -+ - +- - --, + +-|c+ + + +- | .|-|e- +|+| + | |
+| |+-|- + -|-+ -+|| + +- + ++ | --+| -~|- ++ - + .|- | - +
+ |- + .|: --+ +. -: .|: | ++ .|-= .|-- +- + +-|- u-+ |- +
+. a- +|| | +. -- +|| ++ +| +|||+| +| |+|- |+| | +| | |+
+|-|+| + u-+ | + :|-| -|| +| :- |+ :u- +| |+-| |
- -, + u-+ + .|-|e- |-u- +| |+ |-:-|-| -|+ + |-| + -+|-- --|-
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--| .:-, +|-, + .:-, |- .:- + ++ - +| + + +|| + + |++ + -+ + |+ |+
53
+|c- | :+| - :++-| -|, +| +|-|
-+|| + -| +| |--| |- |-+|
+| +|-|+|| + |- | +, +- | |+-|| + |-+-,
+ |+= |-++ |+| +|- +|+ | +- |
+|, +| -+ ++ -|+ |-| , | | + +|-
+c + +- + + u| +|-|+ +-|++ |
++ +- +| + +|- |+|- -- + -
.|-= +| ||| |- | + + |-u- +|-
+||+| + |+-|: +| +|=| --| + -+| | |
- |-+ + +- .+- || | -+ -+ --+| |+||
+|| +| +-|+-||-+ .|+ + |+||| + + -+| |,
|| | | + ++ + +|- + -| |u- +|
-| | + |, --+| +=| + .+- +- | +|
--|- +| +| +| + |-+| + +- |-|
| c c +| |:| | +||+ +|
-+||- + + +| +|| | |-| |, | + + -;
+|- | -|+ +| +|+ |c- +||+|
+ :| ++ + .|-= +| + -+c -+|-- |-|
--+ |+| - + +|a |a+ --+ |-+ +| |
+ |- +|, -+ + |+- || --+ +|+ +|+|
,: +| + , , -:| ++, | |- +|
|+|- +|-+ + |- +| ++ .|-|-c- +-|
-+ + +| |-|+|:, |+| + | ++ +|+
_mohZamd H`mUnwaHa
`mXm| Ho PamoIo _|
gwlr ny{U_m nmS>o
Hwbn{V, ^mVIS>o gJrV gWmZ,
g_{dd{dmb`, bIZD
mohZamdOrHs HwemJ~w{ Ama
HbmZw^y{V Hs aMZm_H j_Vm Ho
gm_O` Ho \bdn BZ XmoZm|
KamZm| Hs ebrJV {deofVmAm| Hm
_{UHmMZ g`moJ
CZHs Z` ebr Ama
aMZmAm| _| {_bVm h &
It was my fi rst cl ass wi th Mohanraoj i
Kallianpurkar, who was giving masterclasses only
to high level kathak dancers at the National
Centre for Performing Arts. I had been using the
same studio to practice and choreograph before
and after his classes. So one day he asked me to
show him what i was doing. I did while he sang to
provide some kind of accompaniment. I got
carried away listening to him sing so one thing had
led to another and here I was standing in front of
him to learn some kathak - an abysmal beginner in
kathak. I stood. He said nothing. Finally I said
would you teach me a guru vandanam to begin
classes? "No" he said. "You are not my student
and I am not your guru. What is the point. Most
people these days dont even know what guru
means.' I agreed. " Besides" I said "I already have a
guru." "You have a guru? Then why do you come
to me." That moment is unforgettable. As he said
this he drew himself up tall where he was sitting
on the floor. He seemed to grow endlessly taller
and more majestic and more commanding. I took
a step back in amazement. Finally, I explained,
"My guru is a spiritual guru. He does not teach
dance. Swami Muktananda." Kallianpurkarji
relaxed. "O" he said "I have always wanted to
meet him and go to his ashram....".
Mohanraoji Kallianpurkar
- mentor and friend
- not guru.
Uttara Asha Coorlawala
55
Ta stands for tana (body)
tha stands for thhal (earth)
i for ishwar and
tat stands for tatva.
This body standing
on earth before God, -
that is
the secret (tatva) of dance.
|- - -+- +|c++ -| +- +| +-|++ | +| | |-| |-u- +|- +||+|
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| ++| -+||-- |+| ;+ |+| --|- ++ - + u | |u , | +|+ +|+-- +
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+||+| ++|- .|-- +- + -+|-- +|-|+| - +a ++ +-+; + --- -c |+ ++||++
|c + | +-| +| .:|- +|
+|+| |+- |+-|- +| +||+ +| |+- | +- +|+| + | +| + +|-| +| --+ :|-| +c |
|-|+| +| ++ - +| + -| +| :-+| --+, |-=+, +- | |--+ +|
+- :+ ||| +| -- -- -- -+-
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It was my fi rst cl ass wi th Mohanraoj i
Kallianpurkar, who was giving masterclasses only
to high level kathak dancers at the National
Centre for Performing Arts. I had been using the
same studio to practice and choreograph before
and after his classes. So one day he asked me to
show him what i was doing. I did while he sang to
provide some kind of accompaniment. I got
carried away listening to him sing so one thing had
led to another and here I was standing in front of
him to learn some kathak - an abysmal beginner in
kathak. I stood. He said nothing. Finally I said
would you teach me a guru vandanam to begin
classes? "No" he said. "You are not my student
and I am not your guru. What is the point. Most
people these days dont even know what guru
means.' I agreed. " Besides" I said "I already have a
guru." "You have a guru? Then why do you come
to me." That moment is unforgettable. As he said
this he drew himself up tall where he was sitting
on the floor. He seemed to grow endlessly taller
and more majestic and more commanding. I took
a step back in amazement. Finally, I explained,
"My guru is a spiritual guru. He does not teach
dance. Swami Muktananda." Kallianpurkarji
relaxed. "O" he said "I have always wanted to
meet him and go to his ashram....".
Mohanraoji Kallianpurkar
- mentor and friend
- not guru.
Uttara Asha Coorlawala
55
Ta stands for tana (body)
tha stands for thhal (earth)
i for ishwar and
tat stands for tatva.
This body standing
on earth before God, -
that is
the secret (tatva) of dance.
|- - -+- +|c++ -| +- +| +-|++ | +| | |-| |-u- +|- +||+|
+ - |+-|: | - |-+ + +|c++| +| |-||- +- + | | --|- - -||c+| -
-+--|, +:-, +|-|, |+++|+-|+, -||- | :||: +| |-:-- |+| |++| .+u
|--|| + -|| +|c, ++|:-| +;, -||- +||-+, |+-|.| ++|, +:| +-|, -+| +--|, |||
|c, -| |+|-+, +|| | ||: , | ; =+ + +- +- +| -|+ |-- + |
- +| + .|- +|+- +. +|-|+| - +- |+- +| +|+ + |-u- +|- +||+| +|
+|+- + |:| + -+-c +||c + +- + |-=+ +|-+| |++ |u| | || +-| |,
+| :| | ,: - :-| | .+ +++| +| + + -+|- | +| |+ +|+ |- -|
|-+| + - +| +- + | - + +- :|-+ |+|-+|+| + .|-+| +.+
+|=| +| + |u|- , -- | +- :u +-| +|-| +| | | --+| +|+| --+| +-| + :|
+c +| + - --+| +-| + a| |-|++ |
+|+|| + .|- :+ |:|+ u-+| +-|++ | + | | +-+ +|+| |+ c| +|-
--| |+| +- | ++ +| -+ +- +. -: .|: |, --|: ; u|, --|: |+|- u|,
|: +|:+ --|: +: |, +. +:; +||, |- +|c --+ +||, |- +|c -- +||,
| +-+ +|c||, |. +|.|. |+ | ; + + -+ - -.|-|e- +|- + | u-+ |-
-| --+ ||- +| | + .|-- +-
+. +-|++ | +| - - + +|- -|c+ +|:+| - -+||-- |+|, -c- + +-|c+ +| -
| ++| -+||-- |+| ;+ |+| --|- ++ - + u | |u , | +|+ +|+-- +
++ + + a+ --|- |:-| ++ +-, + | |-:-+ + +: + +a +|- +| |+| |-u- +|-
+||+| ++|- .|-- +- + -+|-- +|-|+| - +a ++ +-+; + --- -c |+ ++||++
|c + | +-| +| .:|- +|
+|+| |+- |+-|- +| +||+ +| |+- | +- +|+| + | +| + +|-| +| --+ :|-| +c |
|-|+| +| ++ - +| + -| +| :-+| --+, |-=+, +- | |--+ +|
+- :+ ||| +| -- -- -- -+-
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+| + |||| |c +| +|| ; -||+ + | + +|-|+|+| +|- +|+| a|c|
-++ | |
|++| |:| | - +| ||+| +|c++ -|-| + |u|| |-| | - ||
+|-|+| - + -|- +-+- + !
|+ |+ --+| ++-|+-.... -|+c ||+c ||+, |++ ||+c | +|:+ |
||||- -- +|| | +| + -|-- + , - +|+ +|-|+| +|= -||+,
|u|+- +|| | |||| +| +|-+| :+| |
+ + |||| -- +- + +| |u- +| + + NCPA + |u| , -+ + +|-
|:| |--, :| |- +|
--+| +-:+-|-|-, + +- |+-| | --|, +|:+- ||-| +-, |-|c+-| +|:+- |
|-|;| + |||| |u-
--+| --| -- , :u- , |u- , --| +| |-| |-|, |+| +| +- ||-
+ |-| --+| |- +| --| + ||: -- -+ + ||| |, +| +
eVe: Um_
UVr Vmn
_mohZamdOr Hs aMZm_| `m hVH _o, `m A{^Z` _| EH gmXJr,
m_m{UHVm, grYmnZ Wm & AZmd`H, {~Zm dOh Zm
Vmo hVH Wo Zm MbZdbZ & ha ~mV Ho nrN>o {dMma Wm,
A{^OmV Hs Va\ commitment Wr &
+

+
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And so we began ta thai thai tat, aa thai thai tat... I will tell you this secret- ta stands for tana (body) tha
stands for thhal (earth) i for ishwar and tat stands for tatva. This body standing on earth before God, -
that is the secret (tatva) of dance.
One Saturday, when i was leaving for the ashram in Ganeshpuri, it occured to me that perhaps
Kallianpurkarji would like to come too. However, he had no phone and I knew only approximately the
street corner where he would like to be left. So I went there and asked around. I wondered what had
possessed me to do such a stupid thing as to imagine that I would find him with all the apartment
housing. There was a chowkidar lying on palanki, he had never heard of Kallianpurkar... I tried to
describe him. ..He teaches dance. Immediately I got exact directions to the building, floor level and flat!
Within minutes after I located him, Kallianpurkarji closed and locked up his flat and came with me to
the ashram. A long and wonderful drive where he talked about dance.. I grew to deeply respect his
honesty, his curiosity and frank discussions. Right away he asked key questions. How do you reconcile
the goal of entertainment with the spiritual goal of Indian dance... Let me show you. I will make a dance
for you. Since you are Parsee, and you read rudram, I will teach you Ushas Sukta. Ushas has a parsee
counterpart She is also Arora the goddess of dawn. We began. He said, that since the Sanskrit was such
an old style, he wanted me to look up a translation in English. Obediently I trotted off to the university
library ---only to receive another shock. There were many shelves full of Max Mueller's translations
from the Rg Veda, and several Hymns to Ushas... My heart sank. Now what. I dont know, but at that
moment Ervad Dr. Navroze Minocher-Homji turned up. Dastoorji (Parsee priest had taught me my
navjot prayers. Recognizing me, he struck up a conversation. He was curious why a dancer would be in
this library. When I told him my task, he knew immediately all about Ushas- concurring the parallels
between Veda and Zarathustrian texts. Minutes later, I had the right translation. Miracles like that
astounded and surrounded my studies with Kallianpurkarji.
One day, while he was teaching me, the studio door burst open and in walked Ravi Shankarji. The two
tall men greeted each other warmly and hardly had Raviji sat on the mat when he asked "Now how
does this bol go?" He started reciting... Kallianpurkarji picked it up and taught him the rest. They had
not even said to each other " how are you?" although they had not seen each other for many years!
There was such warmth, enthusiasm and love flowing between them. How deep was the bond of the
knowledge they shared and were pursuing.
Then there was a time when one of the advanced students was having her initiation ceremony as an
official chela and she invited me. Kallianpurkarji phoned and said when you come, bring your Guru Gita
with you. (this is long chant in Sanskrit from Skandapurana that is chanted at the ashram.) As soon as i
arrived he and I sat opposite my friend and together we chanted the Guru Gita for her. I did not know
that I was to be part of this ceremony when I was invited. He never let me feel like an outsider.
In my memory Mohanrao Kallianpurkarji remains generous, noble and gentle but firm. He was more
than friend, a mentor - not my guru. And I miss him.
57
+| + |||| |c +| +|| ; -||+ + | + +|-|+|+| +|- +|+| a|c|
-++ | |
|++| |:| | - +| ||+| +|c++ -|-| + |u|| |-| | - ||
+|-|+| - + -|- +-+- + !
|+ |+ --+| ++-|+-.... -|+c ||+c ||+, |++ ||+c | +|:+ |
||||- -- +|| | +| + -|-- + , - +|+ +|-|+| +|= -||+,
|u|+- +|| | |||| +| +|-+| :+| |
+ + |||| -- +- + +| |u- +| + + NCPA + |u| , -+ + +|-
|:| |--, :| |- +|
--+| +-:+-|-|-, + +- |+-| | --|, +|:+- ||-| +-, |-|c+-| +|:+- |
|-|;| + |||| |u-
--+| --| -- , :u- , |u- , --| +| |-| |-|, |+| +| +- ||-
+ |-| --+| |- +| --| + ||: -- -+ + ||| |, +| +
eVe: Um_
UVr Vmn
_mohZamdOr Hs aMZm_| `m hVH _o, `m A{^Z` _| EH gmXJr,
m_m{UHVm, grYmnZ Wm & AZmd`H, {~Zm dOh Zm
Vmo hVH Wo Zm MbZdbZ & ha ~mV Ho nrN>o {dMma Wm,
A{^OmV Hs Va\ commitment Wr &
+

+
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And so we began ta thai thai tat, aa thai thai tat... I will tell you this secret- ta stands for tana (body) tha
stands for thhal (earth) i for ishwar and tat stands for tatva. This body standing on earth before God, -
that is the secret (tatva) of dance.
One Saturday, when i was leaving for the ashram in Ganeshpuri, it occured to me that perhaps
Kallianpurkarji would like to come too. However, he had no phone and I knew only approximately the
street corner where he would like to be left. So I went there and asked around. I wondered what had
possessed me to do such a stupid thing as to imagine that I would find him with all the apartment
housing. There was a chowkidar lying on palanki, he had never heard of Kallianpurkar... I tried to
describe him. ..He teaches dance. Immediately I got exact directions to the building, floor level and flat!
Within minutes after I located him, Kallianpurkarji closed and locked up his flat and came with me to
the ashram. A long and wonderful drive where he talked about dance.. I grew to deeply respect his
honesty, his curiosity and frank discussions. Right away he asked key questions. How do you reconcile
the goal of entertainment with the spiritual goal of Indian dance... Let me show you. I will make a dance
for you. Since you are Parsee, and you read rudram, I will teach you Ushas Sukta. Ushas has a parsee
counterpart She is also Arora the goddess of dawn. We began. He said, that since the Sanskrit was such
an old style, he wanted me to look up a translation in English. Obediently I trotted off to the university
library ---only to receive another shock. There were many shelves full of Max Mueller's translations
from the Rg Veda, and several Hymns to Ushas... My heart sank. Now what. I dont know, but at that
moment Ervad Dr. Navroze Minocher-Homji turned up. Dastoorji (Parsee priest had taught me my
navjot prayers. Recognizing me, he struck up a conversation. He was curious why a dancer would be in
this library. When I told him my task, he knew immediately all about Ushas- concurring the parallels
between Veda and Zarathustrian texts. Minutes later, I had the right translation. Miracles like that
astounded and surrounded my studies with Kallianpurkarji.
One day, while he was teaching me, the studio door burst open and in walked Ravi Shankarji. The two
tall men greeted each other warmly and hardly had Raviji sat on the mat when he asked "Now how
does this bol go?" He started reciting... Kallianpurkarji picked it up and taught him the rest. They had
not even said to each other " how are you?" although they had not seen each other for many years!
There was such warmth, enthusiasm and love flowing between them. How deep was the bond of the
knowledge they shared and were pursuing.
Then there was a time when one of the advanced students was having her initiation ceremony as an
official chela and she invited me. Kallianpurkarji phoned and said when you come, bring your Guru Gita
with you. (this is long chant in Sanskrit from Skandapurana that is chanted at the ashram.) As soon as i
arrived he and I sat opposite my friend and together we chanted the Guru Gita for her. I did not know
that I was to be part of this ceremony when I was invited. He never let me feel like an outsider.
In my memory Mohanrao Kallianpurkarji remains generous, noble and gentle but firm. He was more
than friend, a mentor - not my guru. And I miss him.
59
A Tribute to my Guruji,
Pt. Mohanrao Kallianpurkar
Bhagyashree Oke
I first met Late Pt.Mohanrao Kallianpurkar at his Churchgate residence around
1971, where he was staying with his brother and his family. When I first saw him, I
was very much impressed by his persona. He was a tall and towering personality
with gracious manners, polite speech, ever smiling face, and impeccable
behaviour. I had been their with my parents and my accompanist and well-wisher
late Shri. Ramakant Mandrekar, who was Gurujis close acquaintance. The
purpose of our visit was to requestMohanraoji to teach Kathak to myself. In this
meeting, he flatly declined to take me up as a student. How can a master teach a
junior? Later, he always said, Bhagyashree, you are too young for me to be able to
teach you. Indeed, it was a bold step on our side to have approached a Guru of his
stature. After few repeated requests, however, he reluctantly agreed to teach
Kathak to me. He told my father that he will call us on telephone to decide the
venue, etc.
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+|-| --| |, - ||:-+- -- ||| | | ++ +| -|+ | |-| | ; - +|
|++ ||| |+-| + ++| :u| |
+| +| --+ |+- - +- +- +| +|+| |+| | --+ | + +a :+|++ |:- |-| |
+ + + -- + --+ +| +|+|+ -||+ +|- + | +| +-|, | --+ | |-- + -|- +| |
|-| +-|, - +| ++ + | +| |-| +|+| +| +: +| ||||+| +|+|:| ;|- + +
--+ +| +-| -+| ;--|+ +|+| : - |+| + |, -| + + +| + +++ |+|
+| +- +|
+| |:- +||-+| | | +||-, +-|c+ ;|++ +|+| +| +++ +|-| |-| --|- +| - +|
a| |:- |+| , -+|- +- + |, --| |-:+|+ a|, .+|--| ++ |+|
--+ + +| + + | |+| + || | + + |:- --+ + :|-| |-+ -| + --+ |
|-+ -- +| -| +a |+ | +- + | | | --+| +: +|+| --| | +| |++ a|c|,
-| --+ | -- + -|: :|-| | | -: + +- u--|+ +| |-+ |: +:-| |
|+ +-+ +- +| |: - | +- -| | -| | -- | |-|-++| -
+- -- +| u |+ +a +- - :u| | - -| | | + | +++|| -+ +- + +c| |
+++ + + -- +- +| | |++-|, majesty +- + -|:| +| :u| | - |u- +| +|- -|
: +| |
+ - + |-++|- ++ + | -+, --+-, space + |-| |-| ; - u |: ||
++ + magnifying glass + -|- | +| |
| |+ || +| +|| ........
| +- +| |+ +| || - +| +-| + -: + |+| +| | -:+ |+|- +| +| +
|+|- +a ++ | |, -| || + +| +| |c-: |:- | ++ --c +|:- --|-
|u|; | +| || |:-, + ++- ++| +|+| -|+- |, -| - |c |:- + +|-| --+ ++ +
c +|
:| +|- + |c |:- +| |-| | --+ +| - +| ||-| ||-| -:--| |+|- +|+
|+|- |+ u |+ |+- +|, +|: +- +|, | +| |+ +| +| + -: + +|+ +|
.+|-+|- |- +| +|+| |+|
--+ |+ | --+| ++ | stately, majestic, solemn & classical. -: --+| ++ |,
|+ | -+, |- |- + ++ +| -+ -|+ +|-|+| +| --|+ | -+ +, | |-
+ + |:+|, .|+||+-|, ||+- | -|++, |+-| + -| -| -+ -| --+- +|- +
+|a |+-| |, ||- +| -+ commitment |
c+| |u| +| |+- --+| +|- +| +~, feel | | |+ c+| + -+, |-, +|- +
lining + |+|+|-
+ +|:- |u|- + +|: +- - +- | + |+- |+- --+| - +| | +| -|, +|-| -:
+| |u| +| || :u- + +| +- +| + u: + +|, |+ ||+ +|, -| +- , +
+|:- +-+ |+- -c +| +- | c+ || |-|
+ --- +| | +|| |+-|-, ||| +| --| | --+| -|+- |+-| +| | +|
|-=| | +|
|+- ;-- a|c + | --|- | |:| +|-| ++ +| +| |:| - +| +| +||, - +||, +||
-| + --|| u:+| ++ +| += -- || |
+|-| + |u| |:| -| + |u| |:| --+| +|- +| |:+++ --- .|+ !
59
A Tribute to my Guruji,
Pt. Mohanrao Kallianpurkar
Bhagyashree Oke
I first met Late Pt.Mohanrao Kallianpurkar at his Churchgate residence around
1971, where he was staying with his brother and his family. When I first saw him, I
was very much impressed by his persona. He was a tall and towering personality
with gracious manners, polite speech, ever smiling face, and impeccable
behaviour. I had been their with my parents and my accompanist and well-wisher
late Shri. Ramakant Mandrekar, who was Gurujis close acquaintance. The
purpose of our visit was to requestMohanraoji to teach Kathak to myself. In this
meeting, he flatly declined to take me up as a student. How can a master teach a
junior? Later, he always said, Bhagyashree, you are too young for me to be able to
teach you. Indeed, it was a bold step on our side to have approached a Guru of his
stature. After few repeated requests, however, he reluctantly agreed to teach
Kathak to me. He told my father that he will call us on telephone to decide the
venue, etc.
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+|-| --| |, - ||:-+- -- ||| | | ++ +| -|+ | |-| | ; - +|
|++ ||| |+-| + ++| :u| |
+| +| --+ |+- - +- +- +| +|+| |+| | --+ | + +a :+|++ |:- |-| |
+ + + -- + --+ +| +|+|+ -||+ +|- + | +| +-|, | --+ | |-- + -|- +| |
|-| +-|, - +| ++ + | +| |-| +|+| +| +: +| ||||+| +|+|:| ;|- + +
--+ +| +-| -+| ;--|+ +|+| : - |+| + |, -| + + +| + +++ |+|
+| +- +|
+| |:- +||-+| | | +||-, +-|c+ ;|++ +|+| +| +++ +|-| |-| --|- +| - +|
a| |:- |+| , -+|- +- + |, --| |-:+|+ a|, .+|--| ++ |+|
--+ + +| + + | |+| + || | + + |:- --+ + :|-| |-+ -| + --+ |
|-+ -- +| -| +a |+ | +- + | | | --+| +: +|+| --| | +| |++ a|c|,
-| --+ | -- + -|: :|-| | | -: + +- u--|+ +| |-+ |: +:-| |
|+ +-+ +- +| |: - | +- -| | -| | -- | |-|-++| -
+- -- +| u |+ +a +- - :u| | - -| | | + | +++|| -+ +- + +c| |
+++ + + -- +- +| | |++-|, majesty +- + -|:| +| :u| | - |u- +| +|- -|
: +| |
+ - + |-++|- ++ + | -+, --+-, space + |-| |-| ; - u |: ||
++ + magnifying glass + -|- | +| |
| |+ || +| +|| ........
| +- +| |+ +| || - +| +-| + -: + |+| +| | -:+ |+|- +| +| +
|+|- +a ++ | |, -| || + +| +| |c-: |:- | ++ --c +|:- --|-
|u|; | +| || |:-, + ++- ++| +|+| -|+- |, -| - |c |:- + +|-| --+ ++ +
c +|
:| +|- + |c |:- +| |-| | --+ +| - +| ||-| ||-| -:--| |+|- +|+
|+|- |+ u |+ |+- +|, +|: +- +|, | +| |+ +| +| + -: + +|+ +|
.+|-+|- |- +| +|+| |+|
--+ |+ | --+| ++ | stately, majestic, solemn & classical. -: --+| ++ |,
|+ | -+, |- |- + ++ +| -+ -|+ +|-|+| +| --|+ | -+ +, | |-
+ + |:+|, .|+||+-|, ||+- | -|++, |+-| + -| -| -+ -| --+- +|- +
+|a |+-| |, ||- +| -+ commitment |
c+| |u| +| |+- --+| +|- +| +~, feel | | |+ c+| + -+, |-, +|- +
lining + |+|+|-
+ +|:- |u|- + +|: +- - +- | + |+- |+- --+| - +| | +| -|, +|-| -:
+| |u| +| || :u- + +| +- +| + u: + +|, |+ ||+ +|, -| +- , +
+|:- +-+ |+- -c +| +- | c+ || |-|
+ --- +| | +|| |+-|-, ||| +| --| | --+| -|+- |+-| +| | +|
|-=| | +|
|+- ;-- a|c + | --|- | |:| +|-| ++ +| +| |:| - +| +| +||, - +||, +||
-| + --|| u:+| ++ +| += -- || |
+|-| + |u| |:| -| + |u| |:| --+| +|- +| |:+++ --- .|+ !
61
His maturity and poise was remarkable especially in the field of Dance and Music. I have yet not seen
any other person with a composure of such highest magnitude. His mastery of English as a language,
was exemplary and he also knew Hindi, Brijabhasha, and Marathi very fluently; besides Konkani, which
was his mother tongue.
He was a very hard working man. NCPA organised to shoot a film directed by the famous director late
Mani Kaul. He worked relentlessly with youngsters like myself, Rajkumar Ketkar, Padma Sharma,
Habiba Rehman, and Anju Gupta. The heavy daily schedule spanned from morning 9 to late evenings.
Guruji never looked irritated despite the stress and strains of shooting with which, he was not even
accustomed to. He still gave his best and the result is an unforgettable Video film with NCPA in which,
we can actually see him in action.
Guruji taught us how to value and hold respect for seniors. He literally worshipped his Gurus Shambhu
Maharajji and Sunder Prasadji and they appeared like God to him. His reverence for these great men
was uncomparable. There was perhaps not a single moment in his life without the thought of these
great masters. He lived every moment in Kathak Dance. When alone, he would be found tapping his
head with his right hand index finger in some tala, perhaps composing ceaselessly. In a group, he was
always the quiet one, whether with his family or with his colleagues.
He liked sending small postcards when he used to be away from me. The contents of his letters showed
his concern about my Riyaz. Appreciating my learning speed, he used to always say, You are like
Rohini(Bhateji). This also was a great compliment to me, since I had learned earlier from Guru Babytai
herself. When I delivered my 3rd son, he came to meet me at our residence, took my baby in his hands
and said, Bhagyashree, you have attained a perfect Tihai in the right manner ! A perfect Tihai must
have 3 equal pieces coming one after the other, and I had delivered 3 sons in a row. Till then, we were
blind to this finding. When Rajakumar Ketkar was engaged to my sister-in-law Vasudha, we went to
inform him. His first reaction to the name Vasudha was astonishing. He said, Vah Raja, Kya Baat Hai,
Vasu.Dha ! Till he said this, we had not noticed the Dha in Vasudha for over 20 years that Vasudha
had spent with us ! Such was his involvement and passion about Kathak Dance.
People like my Guruji are born once in a century. To meet him, to learn from him was a tremendous and
divine privilege which I cherish from the bottom of my heart. Dear Guruji, I sincerely hope that I meet
you once again and become your student once again, in some other life!
B
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One fine morning he actually called to say that I am visiting your home today evening to start the tution.
He came to our residence at around 6.30 in the evening, and that was my first lesson from him. He
taught me GAJANAN STUTI, and GAJANAN PARAN, that day. Facing me, he would explain every step
and movement and I followed. I think that we both felt that the arrangement would work successfully.
He looked quite happy despite my being an amateur. He probably liked my bold approach, somehow,
the proposition worked. He taught me thereafter for over a decade. I was very lucky, indeed !
I started learning from him at the National Centre for the Performing Arts, Mumbai in around 1972. He
also taught me at his Gavdevi home. He demonstrated and taught the finer aspects and nuances of the
traditional and rich Kathak dance, which he had painfully acquired from the people like Late Gurus
Shambhu Maharaj, Sunder Prasadji, and Acchan Maharaj. He elaborated different aspects like AMAD,
TODAS, PARANS, CHAKRADHAR PARANS, TIHAIS, different TAALS, CHATURANGA, and many other
things. He enriched me with a total vision of the Kathak art form, from its origin to performance.
He was a maestro of Sitar and Tabla too, and would easily transform the Kathak bols to the language of
Tabla to teach our tabla accompanist, Ustad Sharif Ahmad Khan, who was a routine accompanist to the
great Roshan Kumariji. He would at times sit with the tabla in his own hands, and his proficiency was
second to none. We were told that he used to accompany on Tabla, his Guru Sunder Prasadji in his
performances ! That was his expertise on this instrument.
Sangeet Natak Academy gives annual awards to the artists at the national level, in various fields of
Music and Dance. In one particular year, Guru Mohanraoji and late Pt.Ravi Shankarji were the
recipients respectively for Kathak Dance, and Sitar. Due to some confusion on the stage, their awards
were exchanged. Guruji wrongly received the Sitar award, and Raviji received the Kathak award. When
Guruji went to Raviji to return the award, what Raviji said to him is very significant. Raviji told him, Its
okay, because, if you had continued the Sitar, you would have received this any way ! Guruji also replied
that if Raviji had continued the dance, he would also surely have received the Dance award. Such is the
brilliance of Masters !
Mohanrao was a very soft spoken individual with an ever-smiling face. What struck me always about
him, was that he would never ever criticise any other person. There were instances where he was
actually abused by other artists; still, he preferred to remain calm and remained unusully patient and
composed when dealing with such people. His pleasant smile would shrug off all such slander easily.
People like my Guruji
are born once in a century.
To meet him, to learn from him was a
tremendous and divine privilege which
I cherish from the bottom of my heart.
Dear Guruji, I sincerely hope that
I meet you once again and
become your student
once again, in some other life!
61
His maturity and poise was remarkable especially in the field of Dance and Music. I have yet not seen
any other person with a composure of such highest magnitude. His mastery of English as a language,
was exemplary and he also knew Hindi, Brijabhasha, and Marathi very fluently; besides Konkani, which
was his mother tongue.
He was a very hard working man. NCPA organised to shoot a film directed by the famous director late
Mani Kaul. He worked relentlessly with youngsters like myself, Rajkumar Ketkar, Padma Sharma,
Habiba Rehman, and Anju Gupta. The heavy daily schedule spanned from morning 9 to late evenings.
Guruji never looked irritated despite the stress and strains of shooting with which, he was not even
accustomed to. He still gave his best and the result is an unforgettable Video film with NCPA in which,
we can actually see him in action.
Guruji taught us how to value and hold respect for seniors. He literally worshipped his Gurus Shambhu
Maharajji and Sunder Prasadji and they appeared like God to him. His reverence for these great men
was uncomparable. There was perhaps not a single moment in his life without the thought of these
great masters. He lived every moment in Kathak Dance. When alone, he would be found tapping his
head with his right hand index finger in some tala, perhaps composing ceaselessly. In a group, he was
always the quiet one, whether with his family or with his colleagues.
He liked sending small postcards when he used to be away from me. The contents of his letters showed
his concern about my Riyaz. Appreciating my learning speed, he used to always say, You are like
Rohini(Bhateji). This also was a great compliment to me, since I had learned earlier from Guru Babytai
herself. When I delivered my 3rd son, he came to meet me at our residence, took my baby in his hands
and said, Bhagyashree, you have attained a perfect Tihai in the right manner ! A perfect Tihai must
have 3 equal pieces coming one after the other, and I had delivered 3 sons in a row. Till then, we were
blind to this finding. When Rajakumar Ketkar was engaged to my sister-in-law Vasudha, we went to
inform him. His first reaction to the name Vasudha was astonishing. He said, Vah Raja, Kya Baat Hai,
Vasu.Dha ! Till he said this, we had not noticed the Dha in Vasudha for over 20 years that Vasudha
had spent with us ! Such was his involvement and passion about Kathak Dance.
People like my Guruji are born once in a century. To meet him, to learn from him was a tremendous and
divine privilege which I cherish from the bottom of my heart. Dear Guruji, I sincerely hope that I meet
you once again and become your student once again, in some other life!
B
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One fine morning he actually called to say that I am visiting your home today evening to start the tution.
He came to our residence at around 6.30 in the evening, and that was my first lesson from him. He
taught me GAJANAN STUTI, and GAJANAN PARAN, that day. Facing me, he would explain every step
and movement and I followed. I think that we both felt that the arrangement would work successfully.
He looked quite happy despite my being an amateur. He probably liked my bold approach, somehow,
the proposition worked. He taught me thereafter for over a decade. I was very lucky, indeed !
I started learning from him at the National Centre for the Performing Arts, Mumbai in around 1972. He
also taught me at his Gavdevi home. He demonstrated and taught the finer aspects and nuances of the
traditional and rich Kathak dance, which he had painfully acquired from the people like Late Gurus
Shambhu Maharaj, Sunder Prasadji, and Acchan Maharaj. He elaborated different aspects like AMAD,
TODAS, PARANS, CHAKRADHAR PARANS, TIHAIS, different TAALS, CHATURANGA, and many other
things. He enriched me with a total vision of the Kathak art form, from its origin to performance.
He was a maestro of Sitar and Tabla too, and would easily transform the Kathak bols to the language of
Tabla to teach our tabla accompanist, Ustad Sharif Ahmad Khan, who was a routine accompanist to the
great Roshan Kumariji. He would at times sit with the tabla in his own hands, and his proficiency was
second to none. We were told that he used to accompany on Tabla, his Guru Sunder Prasadji in his
performances ! That was his expertise on this instrument.
Sangeet Natak Academy gives annual awards to the artists at the national level, in various fields of
Music and Dance. In one particular year, Guru Mohanraoji and late Pt.Ravi Shankarji were the
recipients respectively for Kathak Dance, and Sitar. Due to some confusion on the stage, their awards
were exchanged. Guruji wrongly received the Sitar award, and Raviji received the Kathak award. When
Guruji went to Raviji to return the award, what Raviji said to him is very significant. Raviji told him, Its
okay, because, if you had continued the Sitar, you would have received this any way ! Guruji also replied
that if Raviji had continued the dance, he would also surely have received the Dance award. Such is the
brilliance of Masters !
Mohanrao was a very soft spoken individual with an ever-smiling face. What struck me always about
him, was that he would never ever criticise any other person. There were instances where he was
actually abused by other artists; still, he preferred to remain calm and remained unusully patient and
composed when dealing with such people. His pleasant smile would shrug off all such slander easily.
People like my Guruji
are born once in a century.
To meet him, to learn from him was a
tremendous and divine privilege which
I cherish from the bottom of my heart.
Dear Guruji, I sincerely hope that
I meet you once again and
become your student
once again, in some other life!
Z`mVc BVVV: {dIwacoc kmZ,
`m nVrZ gwgynUo EH Ha`mMr,
`mMr `dpWV _mS>Ur HZ
{Z`{_V Ha`mMr,
`dWm bmd`mMr HmimMr JaO
Oer gJrVm~m~V
n. nbwHaOtZr nyU Hocr VerM
_mohZamdOtZr HWH
Z`m~m~V Hocr hQ>c Va
dmdJ R>aUma Zmhr.
+|-|+|+ .= -||+ |+-|-| +| |+ --|, +-- -|-+|- +| |-| +- +| + -+....
- NCPA + |-++-|-|, a|-- |||-||-| +|+:+|| || |- |-++-|-|, +||
+|++||-|+-| + -|-| + -- + -- |:+ .|- ||+ -||+ - -|-| .-|| -+
+|-|+|- -+ +-, -+ |,|- +| +..... ||+- |+- ++ ||- +: +|-|-
|+- +- |:+ +|~ |--- |.... |-|-+ +|-|+|- +|| aesthetics |~+- +|:|+-
+||- | +|~ ||- | ! - -+| -|- |-, |+- |- || |+-| -+|| +|+-|- +-
++ |-.... |-| |.- |- - +| +- +,-|- - +| c+|-.... |- |+-| |+|
+|++-||u || ++- -|-| || |+-|-, -|-|-, -+|- :+ |- +- |-| |+-|:+,|
+c| +||++ |-| +| +|-|+|- +|| +c-| +c +-| |- !
|| .+ +|-|--, +-|-- +-| || |-| +-+ || +| ,| |+|-|.... || +-
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|+- +| |- +- +| |c+-.... +|+ .+- --| +|-|+|-| |c |-|-| +|-|
|- |:| |+ |-= |- |:. +- -+|||| -.|+|- .|- |+- +|-|+|- ++
-|-| | | , ++ -|-| | +| |+, ++ -|| -+| |:-| : +- |+= |, +|-
+|c- +| |, - -+u +| |.... .|- +| |.... !
+|c|-- ||-| +|-| |-, -- |+| ;- |:|||++ +-+=| - |+||c| |- +- |-.
+- || -| +-+-| + +|+||+ -|- |-| +c| u|-| -+c| || +|- +| |-| +|,
|+||- |+..... u|- |:| -+c|- +, ;|- - +||- ||- || +-||-|--|
.= -|||| ,||-+ |+-||++|-| | |-|. -|- ;--- |+u -|-, | +,-|-
++ ++ +-|-|, |-| +|- +|| +-- |-|+- +-|-|, +| |+-|-| +||-| +
-| +|-|+|+- +. ++|-| + +| --|- +|-|+|-| ++ -|+|+- +| -c - +|++
c| -||.
+- |- ||- +| -c +|| +| +|-|+| +|+| |+| - |-..... +|-|+|+-||
+-+|-+|--, u|+| +|+|-- +- +, +- |- |+ +| |-| +||..... |++|u| |+||
63
+|:| ++ |++|- +|-|+|- |-+ -+|- |-.... .= + --
|| u .... +| +- ||||+- + -||+ --|- +|-|+||
+|+|-| |+:|-|| --u | -| | +||- |- |- | +|| |-.
|+ +|-|+|| -+--||:++|| |-|+-|- +| + ,, +|-
|| -+ +-| +- -| - | ... +| |+ - +:
|| +|:| +- |||-|; || +|-|+| ||- |-| +| -+|+-
|| +|c, :|| --|- + ++ +- | .... |:-, |
|+-+|-.... +-|=| :|+ a|+ c|+|....! :||-| +|+| --|-....
+c+|- +- |+ -|-|=-, |+||+, +- || |+-||....
|+||+ + +|+ --|| ||+| .u |...... |.+| |+ |+-
|+- |u|....+|....|-| +| || +-|| ++|-|
|:+++ +|, +|,+- +|.... | +-|--|-| || +|c| ||++, +
+- |+|-| |+ ||.... +|, +||-, -++|, -|c-|+ -
;|- +- |||.... -|| +|+|- +|- |||-| +|, ++ |+-|
+|| !... --| |-| ++ -|- +-| ~|+- :||....! +| |-
|-|+|| | :|| -+|-| ++ -|- u| +| +|| ||
|+-||+ -|-| =- -- || +|+......! -| - -- |-| ++
=+|| .:|- +|, | =+||- ++| +|, |++- |:| !
_mPo XmXmJw
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Z`mVc BVVV: {dIwacoc kmZ,
`m nVrZ gwgynUo EH Ha`mMr,
`mMr `dpWV _mS>Ur HZ
{Z`{_V Ha`mMr,
`dWm bmd`mMr HmimMr JaO
Oer gJrVm~m~V
n. nbwHaOtZr nyU Hocr VerM
_mohZamdOtZr HWH
Z`m~m~V Hocr hQ>c Va
dmdJ R>aUma Zmhr.
+|-|+|+ .= -||+ |+-|-| +| |+ --|, +-- -|-+|- +| |-| +- +| + -+....
- NCPA + |-++-|-|, a|-- |||-||-| +|+:+|| || |- |-++-|-|, +||
+|++||-|+-| + -|-| + -- + -- |:+ .|- ||+ -||+ - -|-| .-|| -+
+|-|+|- -+ +-, -+ |,|- +| +..... ||+- |+- ++ ||- +: +|-|-
|+- +- |:+ +|~ |--- |.... |-|-+ +|-|+|- +|| aesthetics |~+- +|:|+-
+||- | +|~ ||- | ! - -+| -|- |-, |+- |- || |+-| -+|| +|+-|- +-
++ |-.... |-| |.- |- - +| +- +,-|- - +| c+|-.... |- |+-| |+|
+|++-||u || ++- -|-| || |+-|-, -|-|-, -+|- :+ |- +- |-| |+-|:+,|
+c| +||++ |-| +| +|-|+|- +|| +c-| +c +-| |- !
|| .+ +|-|--, +-|-- +-| || |-| +-+ || +| ,| |+|-|.... || +-
:.|: |++| +- -+|||+: +|-|-| |-| -|, |-| -, |- |++ |, +||| +|+
|+- +| |- +- +| |c+-.... +|+ .+- --| +|-|+|-| |c |-|-| +|-|
|- |:| |+ |-= |- |:. +- -+|||| -.|+|- .|- |+- +|-|+|- ++
-|-| | | , ++ -|-| | +| |+, ++ -|| -+| |:-| : +- |+= |, +|-
+|c- +| |, - -+u +| |.... .|- +| |.... !
+|c|-- ||-| +|-| |-, -- |+| ;- |:|||++ +-+=| - |+||c| |- +- |-.
+- || -| +-+-| + +|+||+ -|- |-| +c| u|-| -+c| || +|- +| |-| +|,
|+||- |+..... u|- |:| -+c|- +, ;|- - +||- ||- || +-||-|--|
.= -|||| ,||-+ |+-||++|-| | |-|. -|- ;--- |+u -|-, | +,-|-
++ ++ +-|-|, |-| +|- +|| +-- |-|+- +-|-|, +| |+-|-| +||-| +
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c| -||.
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+-+|-+|--, u|+| +|+|-- +- +, +- |- |+ +| |-| +||..... |++|u| |+||
63
+|:| ++ |++|- +|-|+|- |-+ -+|- |-.... .= + --
|| u .... +| +- ||||+- + -||+ --|- +|-|+||
+|+|-| |+:|-|| --u | -| | +||- |- |- | +|| |-.
|+ +|-|+|| -+--||:++|| |-|+-|- +| + ,, +|-
|| -+ +-| +- -| - | ... +| |+ - +:
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|+-+|-.... +-|=| :|+ a|+ c|+|....! :||-| +|+| --|-....
+c+|- +- |+ -|-|=-, |+||+, +- || |+-||....
|+||+ + +|+ --|| ||+| .u |...... |.+| |+ |+-
|+- |u|....+|....|-| +| || +-|| ++|-|
|:+++ +|, +|,+- +|.... | +-|--|-| || +|c| ||++, +
+- |+|-| |+ ||.... +|, +||-, -++|, -|c-|+ -
;|- +- |||.... -|| +|+|- +|- |||-| +|, ++ |+-|
+|| !... --| |-| ++ -|- +-| ~|+- :||....! +| |-
|-|+|| | :|| -+|-| ++ -|- u| +| +|| ||
|+-||+ -|-| =- -- || +|+......! -| - -- |-| ++
=+|| .:|- +|, | =+||- ++| +|, |++- |:| !
_mPo XmXmJw
e_m ^mQ>o
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Kathak Utsav 2003 Kathak Kendra, New Delhi
Dedicated To Guru Shri Mohan Rao Kalyanpurkar
Dr. SUNIL KOTHARI
Kathak Kendra has started dedicating annual Kathak festivals to the memories of
great Kathak gurus. Last year it was dedicated to Lachhu Maharaj. This year it was
dedicated to Guru Mohan Rao Kalyanpurkar, a disciple of Sundar Prasadji of Jaipur
Gharana and Achhan Maharaj and Shambhu Maharaj of Lucknow gharana. He was
one of the early pioneers with an educational background (he studied science)
and from a middle class family to take up classical dance as I career.
Born on 12th August 1913 in Maharashtra, when he came of age, he took a
decision to study dance, at a time when dance was being looked down upon. And
that too a man taking to dance was not considered at all respectful. So passionate
his love for dance was that he helped his mentor Sundar Prasad-ji to open a school
named after Bindadin Maharaj, viz., Bindadin Maharaj School of Kathak near
Babulnath temple in Mumbai. In those years Shirin Vajifdar and film star of yester
years Nalini Jaywant were learning dance there and privately the Poovaiah Sisters
Sita, Lata and Chitra studied dance under Sundar Prasad-ji.
Later on, after the school closed down, Mohan Rao went to Luclcnow where he
joined Bhatkhande College as a Dean of the Faculty of Dance in 1939 and he
retired from there in 1971. During his long career he established the academic side
of Kathak. He was the first teacher to codify and write in English about the
65
+|-| +-|-| || ||- | -++ |-|, |c|+ |- - || +|:| +|- | !...
|--+|, |. |. |+|+, |+|+, +|+|| ||+|+ -|- + |- u-|+ +,
|+-, |-- |- -|+ + ++ |+-+ +|:| ||| +-|+, |+-||+ - +||
|+c c| -+c+| |- ! |+| - - +|- =+|- ;- |+ -||- -+, +u| || ||
++ - +++| .|: +|-- |- | +||- +|-|+| c+ |+-| +|- |-, |--||
+|+|-- .||+- +- |-. ,c +|+|-| | c+- -c,-- | :|- -||-| ++ ++ +,-c
|++| +|+|- -| + c+ +| +c| -:| |:| -| +|-|+|-| -|+=|-| .|-| +
.+--| +- |;. --|| +|+||| - +|| | || +|- |- -~ +|+ |. +:|--|
-+|-|+|+,|| :+-- --|+- - -|-- +| -| +|-|+| -+|+|-- +
|++|+ + |+-| c-|+ +|- |- || |- +|+|-- - |- |- -|+ +|c-...
|+| +||- |-| |-| +| +|, | .+|- +|-|+|| ,:--|, -:|+|-
:|| +:- +-|| +-||-|, .||- :-|| .+-||-| -u +|.... |+|- +||| |+ |-
|++| +|| -c| |++| +-|--| |+-| .|-|; +|c! | +||- |:| u-| | --| |:-|-|
+|-|+|- | +|| |-| + +-| |+, ||+|- | |-| |+ -- +|-|+|-| +:-|-| |- +c
+|.... | +||- |+-| +-|-+| :| +-| -|- ||+- | :u| :||+ |- +|| +|-
|- | +||- -| ,:-| |- |++ || c|| |-. - +|| .||| - |- |-- .+
+|c-.
+| |-| .= |-|+|: + .|: |+|| -| - +|+|| --|--! || +|+|c|-| u|:| +,
c+| |-++|+| +c| -- |-| +| - -- -|| |-++.... || -|- +|| |+|,
| || +-- +-||-+| - -++| ! || -+ +-+-|, +|:+|, + +||| |+| +|
+-- -|- -+|- |c+|| |-. |+: -+|- -||.... +-- +|~ c+ +||-|+ -~ + | +
| 'strech' + |++| |- 'Laboured' |:| -|| +|| |++| ++| 'movements' 'measured'
--|- |+| +|-|+| | -+ || |u| -+ -+ |+||+, +- |+ ++
aesthetics +|:| ||- c|+- +..... |- + |+c-||u| -|| || +- c|+|+, ++|+
+|c-||u| -||. +|-|+|-| |+| +- -| |, |+- +- +-| |, || ||-|-
|-| |, ||+- ~|| +||++ |c+-|+ -+-| ||, -- | +|-| +++|-
||......!
B
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Kathak Utsav 2003 Kathak Kendra, New Delhi
Dedicated To Guru Shri Mohan Rao Kalyanpurkar
Dr. SUNIL KOTHARI
Kathak Kendra has started dedicating annual Kathak festivals to the memories of
great Kathak gurus. Last year it was dedicated to Lachhu Maharaj. This year it was
dedicated to Guru Mohan Rao Kalyanpurkar, a disciple of Sundar Prasadji of Jaipur
Gharana and Achhan Maharaj and Shambhu Maharaj of Lucknow gharana. He was
one of the early pioneers with an educational background (he studied science)
and from a middle class family to take up classical dance as I career.
Born on 12th August 1913 in Maharashtra, when he came of age, he took a
decision to study dance, at a time when dance was being looked down upon. And
that too a man taking to dance was not considered at all respectful. So passionate
his love for dance was that he helped his mentor Sundar Prasad-ji to open a school
named after Bindadin Maharaj, viz., Bindadin Maharaj School of Kathak near
Babulnath temple in Mumbai. In those years Shirin Vajifdar and film star of yester
years Nalini Jaywant were learning dance there and privately the Poovaiah Sisters
Sita, Lata and Chitra studied dance under Sundar Prasad-ji.
Later on, after the school closed down, Mohan Rao went to Luclcnow where he
joined Bhatkhande College as a Dean of the Faculty of Dance in 1939 and he
retired from there in 1971. During his long career he established the academic side
of Kathak. He was the first teacher to codify and write in English about the
65
+|-| +-|-| || ||- | -++ |-|, |c|+ |- - || +|:| +|- | !...
|--+|, |. |. |+|+, |+|+, +|+|| ||+|+ -|- + |- u-|+ +,
|+-, |-- |- -|+ + ++ |+-+ +|:| ||| +-|+, |+-||+ - +||
|+c c| -+c+| |- ! |+| - - +|- =+|- ;- |+ -||- -+, +u| || ||
++ - +++| .|: +|-- |- | +||- +|-|+| c+ |+-| +|- |-, |--||
+|+|-- .||+- +- |-. ,c +|+|-| | c+- -c,-- | :|- -||-| ++ ++ +,-c
|++| +|+|- -| + c+ +| +c| -:| |:| -| +|-|+|-| -|+=|-| .|-| +
.+--| +- |;. --|| +|+||| - +|| | || +|- |- -~ +|+ |. +:|--|
-+|-|+|+,|| :+-- --|+- - -|-- +| -| +|-|+| -+|+|-- +
|++|+ + |+-| c-|+ +|- |- || |- +|+|-- - |- |- -|+ +|c-...
|+| +||- |-| |-| +| +|, | .+|- +|-|+|| ,:--|, -:|+|-
:|| +:- +-|| +-||-|, .||- :-|| .+-||-| -u +|.... |+|- +||| |+ |-
|++| +|| -c| |++| +-|--| |+-| .|-|; +|c! | +||- |:| u-| | --| |:-|-|
+|-|+|- | +|| |-| + +-| |+, ||+|- | |-| |+ -- +|-|+|-| +:-|-| |- +c
+|.... | +||- |+-| +-|-+| :| +-| -|- ||+- | :u| :||+ |- +|| +|-
|- | +||- -| ,:-| |- |++ || c|| |-. - +|| .||| - |- |-- .+
+|c-.
+| |-| .= |-|+|: + .|: |+|| -| - +|+|| --|--! || +|+|c|-| u|:| +,
c+| |-++|+| +c| -- |-| +| - -- -|| |-++.... || -|- +|| |+|,
| || +-- +-||-+| - -++| ! || -+ +-+-|, +|:+|, + +||| |+| +|
+-- -|- -+|- |c+|| |-. |+: -+|- -||.... +-- +|~ c+ +||-|+ -~ + | +
| 'strech' + |++| |- 'Laboured' |:| -|| +|| |++| ++| 'movements' 'measured'
--|- |+| +|-|+| | -+ || |u| -+ -+ |+||+, +- |+ ++
aesthetics +|:| ||- c|+- +..... |- + |+c-||u| -|| || +- c|+|+, ++|+
+|c-||u| -||. +|-|+|-| |+| +- -| |, |+- +- +-| |, || ||-|-
|-| |, ||+- ~|| +||++ |c+-|+ -+-| ||, -- | +|-| +++|-
||......!
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Thumris genesis in
Kathak dance
Mohan Nadkarni
ECONOMIC TIMES - NEW DELHI 17/08/86
Although I have no pretensions to any deep
understanding of the traditions of our classical
dance, I often came by references-as a keen
student of Hindustani music-which told me that
thumri-singing originally, formed an integral part
of a kathak dance recital.
This was years ago. Since such references came
from authoritative writers, I could not question
their validity. Even so, I was ever keen to satisfy my
genuine curiosity about how the two genres
namely, dance and music, could have been linked.
Decades later, I was lucky to witness a Kathak
concert by that inimitable maestros, the late
Shambhu Maharaj, in Bombay. He literally swayed
his audience as much by his thumris as by the
nritta and nritya aspects of his great recital. While
I still cherish the grateful memories of the
maestros concert, it was left to one of his senior
most and most erudite disciples to help me a
great deal in the understanding and appreciation
of the finer points of the intimate association of
the Kathak and thumri forms.
He was Mohanrao Kallianpurkar. He was 72 when
he died of cancer last year. And with him passed
away, the last titan of the old generation. He
would have been 73 tomorrow and, on this
occasion, memories of our numerous vesper-
Soft spoken and humorous,
tall, stately and
handsome Kallianpurkar
wore his achievements
rather lightly,
even indifferently.
67
technical aspects of nritta, pure dance in Kathak, defining what was meant by Thaat, Tode, Tokde,
Paran, Aamad, Kavit, Kavit toda, Sangit, Parmelu, Tirvat Chaturnag etc. Also about abhinaya items
(numbers) and with his amazing knowledge of the taal, he also wrote about the jaatis-tisra, misra,
chaturusra, khanda sankirna and their usage in Kathak, in footwork, their richness and complexities. As
a teacher he offered challenges to students giving them bandishes, compositions, in order to compose
on the spot and improve.
He gave liberally to students and trained a generation of dancers. Amongst them Purnima Pande
(currently Vice Chancellor of the deemed University - status given to Bhatkhande College), Padma
Sharma, Geetanjali Lai, Rohini Bhate, Ranjana Srivatsava, to name a few have in turn contributed a lot
to the field of Kathak.
After 1971 he returned to Mumbai and gave master classes at the National Centre for the Performing
Arts (NCPA), sharing his vast knowledge with the advanced students and performers.
He played sitar and also had deep knowledge of the percussion instruments, pecially tabla. He played
on them with great mastery.
During his tenure at Lucknow he has choreographed
Shakuntala, Meghaduta id War and Peace ballets also.
He was rather a tall man, but such was his grace id
ability to communicate that people forgot this height.
Rohini Bhate has paid ;cellent tribute to him and his
gifts as a teacher, composer and a human being.
Rohini Bhate mentions that Mohan Rao ji had a
treasure trove of taal. Taalamala, in what he had
termed Ganga Jamuna were his matchless creations.
In Taalamala,: did wonders beginning with teen taal,
and proceeding to Jhap taal, Dhamar, chautaal,
Rupaka and Ashta Mangal - these six taalas, resulting
into a garland of to maatras! Pandit Ratanjankar had,
based on these six taalas, created one Rgamala
nagma, a bandish, composition based on words also.
His gat bhav, for abhinaya like Makhan chori,
Kaliyadaman, Hori are precious gems. Bindadin
Maharaj's lakshan geet, elaborating upon the
characteristics of Kathak "Nirtat Dhang", was set to dance by Mohan Raoji.
His performing career had some rare moments: that he used to dance with the eats of Kathak would be
news to the young generation. But once in 1936 he danced in Benaras, when Shambhu Maharaj
accompanied him on tabla, next day lucchu Maharaj danced and on the final day none else but Achhan
Maharaj!
Kathak Kendra did an excellent job of paying tribute to such a stalwart. I recall with gratitude about the
time when I was writing my book on Kathak, he gave me wonderful guidance, explaining the intricacies
in lucid manner. I used to see him at his Gamdevi residence in Mumbai. He was an unassuming artist.
And excellent human being, generous, gentle and willing to share knowledge. I used to attend his
classes at NCPA to understand the methodology of transmitting training in Kathak. He encouraged me
to write as he knew that I was keen to understand intricacies and then put them in words for
appreciation of the dance forms. I feel privileged to have known him. We used to meet at Kathak
prasangas in Bhopal and Delhi and always looked forward to exchanging notes and knowing the latest
in other dance forms.
He was
an unassuming artist.
And
excellent human being,
generous, gentle and
willing to share knowledge..
B
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Thumris genesis in
Kathak dance
Mohan Nadkarni
ECONOMIC TIMES - NEW DELHI 17/08/86
Although I have no pretensions to any deep
understanding of the traditions of our classical
dance, I often came by references-as a keen
student of Hindustani music-which told me that
thumri-singing originally, formed an integral part
of a kathak dance recital.
This was years ago. Since such references came
from authoritative writers, I could not question
their validity. Even so, I was ever keen to satisfy my
genuine curiosity about how the two genres
namely, dance and music, could have been linked.
Decades later, I was lucky to witness a Kathak
concert by that inimitable maestros, the late
Shambhu Maharaj, in Bombay. He literally swayed
his audience as much by his thumris as by the
nritta and nritya aspects of his great recital. While
I still cherish the grateful memories of the
maestros concert, it was left to one of his senior
most and most erudite disciples to help me a
great deal in the understanding and appreciation
of the finer points of the intimate association of
the Kathak and thumri forms.
He was Mohanrao Kallianpurkar. He was 72 when
he died of cancer last year. And with him passed
away, the last titan of the old generation. He
would have been 73 tomorrow and, on this
occasion, memories of our numerous vesper-
Soft spoken and humorous,
tall, stately and
handsome Kallianpurkar
wore his achievements
rather lightly,
even indifferently.
67
technical aspects of nritta, pure dance in Kathak, defining what was meant by Thaat, Tode, Tokde,
Paran, Aamad, Kavit, Kavit toda, Sangit, Parmelu, Tirvat Chaturnag etc. Also about abhinaya items
(numbers) and with his amazing knowledge of the taal, he also wrote about the jaatis-tisra, misra,
chaturusra, khanda sankirna and their usage in Kathak, in footwork, their richness and complexities. As
a teacher he offered challenges to students giving them bandishes, compositions, in order to compose
on the spot and improve.
He gave liberally to students and trained a generation of dancers. Amongst them Purnima Pande
(currently Vice Chancellor of the deemed University - status given to Bhatkhande College), Padma
Sharma, Geetanjali Lai, Rohini Bhate, Ranjana Srivatsava, to name a few have in turn contributed a lot
to the field of Kathak.
After 1971 he returned to Mumbai and gave master classes at the National Centre for the Performing
Arts (NCPA), sharing his vast knowledge with the advanced students and performers.
He played sitar and also had deep knowledge of the percussion instruments, pecially tabla. He played
on them with great mastery.
During his tenure at Lucknow he has choreographed
Shakuntala, Meghaduta id War and Peace ballets also.
He was rather a tall man, but such was his grace id
ability to communicate that people forgot this height.
Rohini Bhate has paid ;cellent tribute to him and his
gifts as a teacher, composer and a human being.
Rohini Bhate mentions that Mohan Rao ji had a
treasure trove of taal. Taalamala, in what he had
termed Ganga Jamuna were his matchless creations.
In Taalamala,: did wonders beginning with teen taal,
and proceeding to Jhap taal, Dhamar, chautaal,
Rupaka and Ashta Mangal - these six taalas, resulting
into a garland of to maatras! Pandit Ratanjankar had,
based on these six taalas, created one Rgamala
nagma, a bandish, composition based on words also.
His gat bhav, for abhinaya like Makhan chori,
Kaliyadaman, Hori are precious gems. Bindadin
Maharaj's lakshan geet, elaborating upon the
characteristics of Kathak "Nirtat Dhang", was set to dance by Mohan Raoji.
His performing career had some rare moments: that he used to dance with the eats of Kathak would be
news to the young generation. But once in 1936 he danced in Benaras, when Shambhu Maharaj
accompanied him on tabla, next day lucchu Maharaj danced and on the final day none else but Achhan
Maharaj!
Kathak Kendra did an excellent job of paying tribute to such a stalwart. I recall with gratitude about the
time when I was writing my book on Kathak, he gave me wonderful guidance, explaining the intricacies
in lucid manner. I used to see him at his Gamdevi residence in Mumbai. He was an unassuming artist.
And excellent human being, generous, gentle and willing to share knowledge. I used to attend his
classes at NCPA to understand the methodology of transmitting training in Kathak. He encouraged me
to write as he knew that I was keen to understand intricacies and then put them in words for
appreciation of the dance forms. I feel privileged to have known him. We used to meet at Kathak
prasangas in Bhopal and Delhi and always looked forward to exchanging notes and knowing the latest
in other dance forms.
He was
an unassuming artist.
And
excellent human being,
generous, gentle and
willing to share knowledge..
B
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69
Mohanraoji was perhaps the first one
to compose full length ballet based on Kathak
time get-togethers at our homes naturally come crowding to my mind. I specially remember the days of
our early acquaintance, which matured eventually into lashing friendship, when he would explain to
me how thumri initially evolved as an accompanying song of dance with the obvious object to make
dance movement more expressive, more abiding. He would proceed to show, in a thousand ways, the
subtle and the beautiful aspects of the thumri-Kathak relationship. He would treat me to a highly
evocative line-up of sensitive compositions by pioneers like Binda Din, Sarju Prasad and other
celebrities. I used to sit spellbound as he would reel them off in easy succession as few less could. These
compositions were all based on Hindustani ragas and warmly expressive of the bhavas intended to be
conveyed through the chosen dance numbers.
Kallianpurkar came of a cultured and well connected Saraswat Brahmin family from South Kanara, in
Karnataka. He started out as an amateur sitarist and tabla player while he was studying at St. Xaviers
College, Bombay. The Kathak recitals of Shambhu Maharaj and Menaka, which he chanced to witness
while doing his graduation studies proved to be the turning point in his life. So much so, that he
abruptly ended his college studies to seek tutelage from a leading Kathak maestro, Sundar Prasad, and
then from Shambhu Maharaj.
Ironically, precious little has been known about Kallianpurkar or his contribution to the preservation,
enrichment and propagation of this classical tradition of North India., in this part of the country. How
many connoisseurs, specially of the present generation, are aware of the fact that he was the man who
started Indias first ever school for Kathak teaching in Bombay and, that too, way back five decades
ago? And how many care to remember that he was also the man who prepared a comprehensive blue-
print for impacting scholastic education in Kathak? Why, he went even further and set the pattern for
conducting theory and practical examinations in the subject at the diploma and degree levels. To my
mind, his work in his field was as pioneering as that of Bhatkhande and Ratanjankar in Hindustani
music.
It is possible that Kallianpurkar and his work remained relatively less known, because he lived and
worked in North India to pursue his profession for the best part of his life. Yet he managed to attract
many talented youngsters from Maharashtra. It is of interest to know that among his early students at
his Bombay institution were Nalini Jaywant and Yashodhara Kathju, who later forsook dance in favor of
a film career. There was also Krishna Udyavarkar, who later switched to Hindustani Music to make the
grade as a top-notch vocalist, albeit for a brief while.
After setting up his Bombay institution on an even keel, Kallianpurkar moved to Lucknow to continue
his work. During those years, he was actively associated with the Bhatkhande Sangeet Vidyapeeth as
head of his dance wing. Apart from teaching, he did a lot of research and innovated many trend setting
ballets. He was recipient of the Presidents Award and the Karnataka State Award for his contribution in
the field. Till the last, he was also member of the General Council and Fellow of the Sangeet Natak
Akademi New Delhi. After he wound up his professional career at Lucknow and came down to Bombay,
he was associated with the NCPA as Professor Emeritus till 1981.
I do not know the large number of disciples he groomed while at Lucknow and other places in North
India. Among the few who have successfully pursued their performing and teaching profession are
Rohini Bhate of Pune, who has also now won the Presidents Award for Kathak dance; Bhagyashree Oak
of Bombay; and Purnima Pandey of Lucknow.
Soft spoken and humorous, tall, stately and handsome Kallianpurkar wore his achievements rather
lightly, even indifferently.
He always steered clear of unseemly feuds and controversies that have always beset the professional
field. Only occasionally would he condescend to give a guarded expression to his views about the
future of Kathak. It is the quality of Abhinaya, not populism, with all its applause winning gimmickry
that would safeguard the future of the tradition-he would simply quip!
Kallianpurkar had left Bombay three years ago to settle down at Hubli, in Karnataka, with his family. I
last saw him during his visit to Bombay for medical treatment early in 1985. He had apparently known
the nature of his terminal ailment, but he was as gay and genial as ever, as though cast in the mould of a
Sthitaprajna.
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69
Mohanraoji was perhaps the first one
to compose full length ballet based on Kathak
time get-togethers at our homes naturally come crowding to my mind. I specially remember the days of
our early acquaintance, which matured eventually into lashing friendship, when he would explain to
me how thumri initially evolved as an accompanying song of dance with the obvious object to make
dance movement more expressive, more abiding. He would proceed to show, in a thousand ways, the
subtle and the beautiful aspects of the thumri-Kathak relationship. He would treat me to a highly
evocative line-up of sensitive compositions by pioneers like Binda Din, Sarju Prasad and other
celebrities. I used to sit spellbound as he would reel them off in easy succession as few less could. These
compositions were all based on Hindustani ragas and warmly expressive of the bhavas intended to be
conveyed through the chosen dance numbers.
Kallianpurkar came of a cultured and well connected Saraswat Brahmin family from South Kanara, in
Karnataka. He started out as an amateur sitarist and tabla player while he was studying at St. Xaviers
College, Bombay. The Kathak recitals of Shambhu Maharaj and Menaka, which he chanced to witness
while doing his graduation studies proved to be the turning point in his life. So much so, that he
abruptly ended his college studies to seek tutelage from a leading Kathak maestro, Sundar Prasad, and
then from Shambhu Maharaj.
Ironically, precious little has been known about Kallianpurkar or his contribution to the preservation,
enrichment and propagation of this classical tradition of North India., in this part of the country. How
many connoisseurs, specially of the present generation, are aware of the fact that he was the man who
started Indias first ever school for Kathak teaching in Bombay and, that too, way back five decades
ago? And how many care to remember that he was also the man who prepared a comprehensive blue-
print for impacting scholastic education in Kathak? Why, he went even further and set the pattern for
conducting theory and practical examinations in the subject at the diploma and degree levels. To my
mind, his work in his field was as pioneering as that of Bhatkhande and Ratanjankar in Hindustani
music.
It is possible that Kallianpurkar and his work remained relatively less known, because he lived and
worked in North India to pursue his profession for the best part of his life. Yet he managed to attract
many talented youngsters from Maharashtra. It is of interest to know that among his early students at
his Bombay institution were Nalini Jaywant and Yashodhara Kathju, who later forsook dance in favor of
a film career. There was also Krishna Udyavarkar, who later switched to Hindustani Music to make the
grade as a top-notch vocalist, albeit for a brief while.
After setting up his Bombay institution on an even keel, Kallianpurkar moved to Lucknow to continue
his work. During those years, he was actively associated with the Bhatkhande Sangeet Vidyapeeth as
head of his dance wing. Apart from teaching, he did a lot of research and innovated many trend setting
ballets. He was recipient of the Presidents Award and the Karnataka State Award for his contribution in
the field. Till the last, he was also member of the General Council and Fellow of the Sangeet Natak
Akademi New Delhi. After he wound up his professional career at Lucknow and came down to Bombay,
he was associated with the NCPA as Professor Emeritus till 1981.
I do not know the large number of disciples he groomed while at Lucknow and other places in North
India. Among the few who have successfully pursued their performing and teaching profession are
Rohini Bhate of Pune, who has also now won the Presidents Award for Kathak dance; Bhagyashree Oak
of Bombay; and Purnima Pandey of Lucknow.
Soft spoken and humorous, tall, stately and handsome Kallianpurkar wore his achievements rather
lightly, even indifferently.
He always steered clear of unseemly feuds and controversies that have always beset the professional
field. Only occasionally would he condescend to give a guarded expression to his views about the
future of Kathak. It is the quality of Abhinaya, not populism, with all its applause winning gimmickry
that would safeguard the future of the tradition-he would simply quip!
Kallianpurkar had left Bombay three years ago to settle down at Hubli, in Karnataka, with his family. I
last saw him during his visit to Bombay for medical treatment early in 1985. He had apparently known
the nature of his terminal ailment, but he was as gay and genial as ever, as though cast in the mould of a
Sthitaprajna.
B
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t
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Remembering
Mohanrao Master Saheb
Susheela Misra
THE HINDU, Friday, August 1, 1997
(To Mohanrao Kalyanpurkar goes the credit of
bringing a touch of class to Kathak, shunned in
those those times due to its association with
mujras-and popularising it among the masses.
Susheela Misra, also one of his pupils, pays a
tribute.)
The month of August brings back a flood of
memori es of Kat hak Guru Mohanrao
Kal yanpurkar, affecti onatel y known as
Mohanrao Master Saheb by his numerous
students in Lucknow. He was born on August 12,
1913 into a cultured and well-to-do Saraswat
family in Bangalore and it was in August 9, 1939
that he joined the staff of the Bhatkhande
College in Lucknow as the Dean of the Faculty of
Dance. This was destined to have lasting effect
on the entire Kathak scene in Uttar Pradesh.
Today Kathak has won not only countrywide, but
also international fame and popularity. But most
people who are avid Kathak fans now, are not
aware of the fact that in the early part of this
Century, Kathak used to be an art shunned by
members of respectable homes.
What a far-sighted and shrewd person Pandit
Vishnu Narayan Bhatkhande was! Though he was
considered a puritan in many matters and though
he lived a life of simplicity, he must have realized
The dance syllabi
drawn up by him
were accepted in toto by
various universities like
Baroda, Khairagarh,
Benaras, Hyderabad,
Andhra Pradesh and so on.
71
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Mohanraoji in his ballet costume
Remembering
Mohanrao Master Saheb
Susheela Misra
THE HINDU, Friday, August 1, 1997
(To Mohanrao Kalyanpurkar goes the credit of
bringing a touch of class to Kathak, shunned in
those those times due to its association with
mujras-and popularising it among the masses.
Susheela Misra, also one of his pupils, pays a
tribute.)
The month of August brings back a flood of
memori es of Kat hak Guru Mohanrao
Kal yanpurkar, affecti onatel y known as
Mohanrao Master Saheb by his numerous
students in Lucknow. He was born on August 12,
1913 into a cultured and well-to-do Saraswat
family in Bangalore and it was in August 9, 1939
that he joined the staff of the Bhatkhande
College in Lucknow as the Dean of the Faculty of
Dance. This was destined to have lasting effect
on the entire Kathak scene in Uttar Pradesh.
Today Kathak has won not only countrywide, but
also international fame and popularity. But most
people who are avid Kathak fans now, are not
aware of the fact that in the early part of this
Century, Kathak used to be an art shunned by
members of respectable homes.
What a far-sighted and shrewd person Pandit
Vishnu Narayan Bhatkhande was! Though he was
considered a puritan in many matters and though
he lived a life of simplicity, he must have realized
The dance syllabi
drawn up by him
were accepted in toto by
various universities like
Baroda, Khairagarh,
Benaras, Hyderabad,
Andhra Pradesh and so on.
71
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h


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Mohanraoji in his ballet costume
musicians, dancers, pakhawaj and tabla experts. Among the early students were Sunalini Devi (the
sister of Sarojini Naidu), the three talented Pooviah sisters and many others. Among the visitors was
Madame Menaka who invited Guruji often to her own Kathak school in Khandala. Another frequent
visitor was Dr.Ratanajankar who was so impressed by Mohanraos personality and dance that he
requested him to come to Lucknow and become Dean of Faculty of Dance in the Bhatkhande College,
Lucknow. A t first, Pandit Sunder Prasad could not bear the thought to letting his favorite shishya go, but
later on, the generous Guru gave his permission. When the guru went to the Mumbai railway station on
August9, 1939, to see off Mohanrao, both wept for a long time.
In the college in Lucknow, Kalyanpurkar organized the entire Dance Faculty, drew up proper syllabi for
Kathak courses (which have been widely accepted) and his dance classes attracted a large numbers of
students. Besides performing, he choreographed and presented a number of Kathak ballets like
Shakuntala, Meghdoot, Malati-Madhav and Vikramorvashiyam. I remember three of his dance
partners in these dance-dramas. One of his talented pupils Yashodhara Katju, the other two was his
colleagues in the Faculty-Kumudini Pal and Suniti Kaikini. Because of the Kalyanpurkars close links with
the Bindadin family, gurus like Achchan and Shambhu Maharaj used to give performances exclusively
for the staff and students and Shambhu Maharaj used to be one of the examiners, for his biting and
sarcastic (but amusing) comments! Thus we were privileged to see some of their inspired private
mehfils in the college!
Among the many awards that Kalyanpurkar received for his services to Kathak were the Central Sahitya
Natak Akademi Award in 1962, the Uttar Pradesh Sahitya Natak Akademi Award in 1981, the Honorary
Degree of Nritya Nipun form Bhatkhande Sangeet Vidyapeeth, the Award from Karnataka Sahitya
Natak Akademi and the Sharangdev Fellowship from Mumbai in 1982. Some of his shishyas are doing
commendable work in teaching Kathak-like Poornima Pande (Now in British Guyana), Padma Sharma
in Mumbai, Ranjana Srivastav (in Benaras Hindu University) and most of all, Rohini Bhate whose
creative work is seen year after year through the highly rated group items choreographed by her, and
performed by her disciples at the annual Kathak festivals in Lucknow and Delhi.
After his retirement from the Bhatkhande College, Lucknow, in 1967, Mohanrao Master Saheb worked
in Delhi as Director of the Kathak Kendra for a short while, and then became Professor Emeritus at the
National Centre of Performing Arts in Mumbai from where he could visit his family in Hubli.
Whenever he visited Lucknow, he used to drop in at my place for a long chat and a meal. What a witty
conversationalist he used to be with his vast stock of interesting anecdotes about various artistes. He
knew practically all dancers and musicians of the recent past and on the contemporary scene, and
knew a lot about their excellence as well as eccentricities! Many times I requested him to write these
and compile them into a book which would have made very interesting reading, but he was too easy
going about such suggestions. He did write some valuable, informative articles about Kathak for MARG
and for many other magazines and souvenirs.
Through sheer perseverance, I managed to persuade him to plan and record some valuable archival
programmes on Kathak for All India Radio, Lucknow (when I was Producer, Classical Music). His spoken
words, padhant, singing were all included in these special programmes. I do not know if these
valuable lapses have been preserved in the AIR library, or callously erased subsequently! The dance
syllabi drawn up by him were accepted in toto by various universities like Baroda, Khairagarh, Benaras,
Hyderabad, Andhra Pradesh and so on.
Today, Kathak has become a craze all over India and abroad. In this mood of exultation, we should not
forget the personal sacrifices and lasting contributions of pioneers like Mohanrao Master Saheb who
brought respectability to Kathak-especially in this region. He died of cancer on December 4, 1985. We,
his students and friends continue to miss him.
73
the potential of the great art of Kathak as a classical dance form. He must have also realized the
imperative need to give it respectability, without which boys and girls from educated and cultured
families would never have been able to learn this rich style. Therefore, he started the Faculty of Dance
in the Bhatkhande College of Music only after he found a guru like Mohanrao Kalyanpurkar.
It was Dr. Ratanjankar who first saw Mohanrao dance in the Bindadin School of the laters Guru
Pandit Sunder Prasad in Mumbai. But that is another story. Like Dr. Ratanjankar whose family lived in
Mumbai, Mohanrao also had to leave behind his family in Hubli where his wife was a busy medical
practitioner. Later, there sons too were educated in schools and college there. I have recently come to
know that one of his sons is in the U.S. and that his wife is a good singer.
The salary of staff members in the Bhatkhande College in those times was too low to attract any
educated young man. But like Anna Saheb (Dr. Ratanjankar), Mohanrao also came here with a
missionary spirit at the cost of many personal sacrifices. He spent the best years of his life living in a
small room with Anna Saheb in the college premises. I wonder how many of his students realized this,
or remember his personal sacrifices, and the great role he played in popularizing Kathak in a region
which looked down on it with disdain. All credit goes to him for attracting large numbers of talented
girls (and a few boys) into the Kathak classes.
Rai Umanath Bali, a close friend and admirer of Pandit Bhatkhande and Anna Saheb set the trend by
admitting his own daughters into Mohanraos Kathak classes. His polished personality and ways
inspired confidence in many of the respected and affluent families including many of the Kashmiri
Pandit families of Lucknow to send their educated young daughters to become Kathak students under
Kalyanpurkar. Some of them were spotted by talent scouts from the film world of Mumbai and lured
away. Among them, two who achieved fame, but faded away subsequently were Yashodhara Katju and
Swarnalata Syal (a Punjabi from Delhi) who became famous for her role in Ratan, but married a
Muslim film director and migrated to Pakistan!
In my batch were Swarnalata, a pretty Maharashtrian lady, a tall Punjabi girl and a young but very
talented girl from Andhra Pradesh. The most vivid thing that I remember about Mohanrao Master
Sahebs classes was the fragrance of Mysore agarbattis (incense sticks) that always filled our vast
classrooms. When all of us arrived a little before 3 p.m. daily with our ghunghroos, the fragrance of
these agarbattis, the booming sounds of the tabla-bayan and the repetitive lahra (most in Multani)
would welcome us from afar. Like his revered Guru Pandit Sunder Prasadji, he too used to start his own
riyaz and classes after lighting a bunch of incense sticks in front of the large garlanded portrait of
Maharaj Bindadin in the classroom. This indicated their close affinities with and allegiance to the
Binda-Kalka gharana of Lucknow.
Mohanrao gave up his science degree course mid-way in order to devote himself totally to the study of
music and dance. He learnt tabla from Ustad Ghulam Mohammad Khan, sitar from Ustad Mohammad
Khan, and on July 15, 1938 he became a true Gandabandh shishya of the famous Kathak Guru Pandit
Sunder Prasad of Jaipur. The guru-shishya bonds became almost like a son for the Guru whose joys
and sorrows the shishya lovingly shared till the passing away of the Guru.
Born in Rajasthan in 1898 in village Karwadi, Sunder Prasadji belonged to a family that has produced a
large number of famous dancers of Jaipur gharana Kathak. Sunder Prasadjis father Pandit Chunnilal,
must have been a very broadminded guru, because after training up his two sons Jailal and Sunder
Prasad excellently in Jaipur Kathak, he sent both of them to Lucknow for intensive training under the
peerless Maharaj Bindadin. Thus the Kathak that Mohanrao imbibed from Pandit Sunder Prasad was
the rich blend of two gharanas. That he was considered an exponent of the kalka-Binda gharana is
obvious from the fact that later, when he became a disciple of Gurus Achchan Maharaj and Shambhu
Maharaj in Lucknow, they refused to have the ganda-bandh ceremony because they considered him
a gurubhai.
In 1937, Kalyanpurkar persuaded his guru Sunder Prasad to start a Bindadin School of Kathak in
Mumbai for which they got a suitable place in Gamdevi. Mohanrao said that they got all the necessary
equipment (including even ghunghroos) as donation! Immediately after the grihapooja, the first
dance item was an abhinaya piece by Guru Lachchu Maharaj to the accompaniment of the well-known
Bindadin Thumri, Mein Khelungi Unheense Hori Guyyan. The school became a meeting place for
B
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musicians, dancers, pakhawaj and tabla experts. Among the early students were Sunalini Devi (the
sister of Sarojini Naidu), the three talented Pooviah sisters and many others. Among the visitors was
Madame Menaka who invited Guruji often to her own Kathak school in Khandala. Another frequent
visitor was Dr.Ratanajankar who was so impressed by Mohanraos personality and dance that he
requested him to come to Lucknow and become Dean of Faculty of Dance in the Bhatkhande College,
Lucknow. A t first, Pandit Sunder Prasad could not bear the thought to letting his favorite shishya go, but
later on, the generous Guru gave his permission. When the guru went to the Mumbai railway station on
August9, 1939, to see off Mohanrao, both wept for a long time.
In the college in Lucknow, Kalyanpurkar organized the entire Dance Faculty, drew up proper syllabi for
Kathak courses (which have been widely accepted) and his dance classes attracted a large numbers of
students. Besides performing, he choreographed and presented a number of Kathak ballets like
Shakuntala, Meghdoot, Malati-Madhav and Vikramorvashiyam. I remember three of his dance
partners in these dance-dramas. One of his talented pupils Yashodhara Katju, the other two was his
colleagues in the Faculty-Kumudini Pal and Suniti Kaikini. Because of the Kalyanpurkars close links with
the Bindadin family, gurus like Achchan and Shambhu Maharaj used to give performances exclusively
for the staff and students and Shambhu Maharaj used to be one of the examiners, for his biting and
sarcastic (but amusing) comments! Thus we were privileged to see some of their inspired private
mehfils in the college!
Among the many awards that Kalyanpurkar received for his services to Kathak were the Central Sahitya
Natak Akademi Award in 1962, the Uttar Pradesh Sahitya Natak Akademi Award in 1981, the Honorary
Degree of Nritya Nipun form Bhatkhande Sangeet Vidyapeeth, the Award from Karnataka Sahitya
Natak Akademi and the Sharangdev Fellowship from Mumbai in 1982. Some of his shishyas are doing
commendable work in teaching Kathak-like Poornima Pande (Now in British Guyana), Padma Sharma
in Mumbai, Ranjana Srivastav (in Benaras Hindu University) and most of all, Rohini Bhate whose
creative work is seen year after year through the highly rated group items choreographed by her, and
performed by her disciples at the annual Kathak festivals in Lucknow and Delhi.
After his retirement from the Bhatkhande College, Lucknow, in 1967, Mohanrao Master Saheb worked
in Delhi as Director of the Kathak Kendra for a short while, and then became Professor Emeritus at the
National Centre of Performing Arts in Mumbai from where he could visit his family in Hubli.
Whenever he visited Lucknow, he used to drop in at my place for a long chat and a meal. What a witty
conversationalist he used to be with his vast stock of interesting anecdotes about various artistes. He
knew practically all dancers and musicians of the recent past and on the contemporary scene, and
knew a lot about their excellence as well as eccentricities! Many times I requested him to write these
and compile them into a book which would have made very interesting reading, but he was too easy
going about such suggestions. He did write some valuable, informative articles about Kathak for MARG
and for many other magazines and souvenirs.
Through sheer perseverance, I managed to persuade him to plan and record some valuable archival
programmes on Kathak for All India Radio, Lucknow (when I was Producer, Classical Music). His spoken
words, padhant, singing were all included in these special programmes. I do not know if these
valuable lapses have been preserved in the AIR library, or callously erased subsequently! The dance
syllabi drawn up by him were accepted in toto by various universities like Baroda, Khairagarh, Benaras,
Hyderabad, Andhra Pradesh and so on.
Today, Kathak has become a craze all over India and abroad. In this mood of exultation, we should not
forget the personal sacrifices and lasting contributions of pioneers like Mohanrao Master Saheb who
brought respectability to Kathak-especially in this region. He died of cancer on December 4, 1985. We,
his students and friends continue to miss him.
73
the potential of the great art of Kathak as a classical dance form. He must have also realized the
imperative need to give it respectability, without which boys and girls from educated and cultured
families would never have been able to learn this rich style. Therefore, he started the Faculty of Dance
in the Bhatkhande College of Music only after he found a guru like Mohanrao Kalyanpurkar.
It was Dr. Ratanjankar who first saw Mohanrao dance in the Bindadin School of the laters Guru
Pandit Sunder Prasad in Mumbai. But that is another story. Like Dr. Ratanjankar whose family lived in
Mumbai, Mohanrao also had to leave behind his family in Hubli where his wife was a busy medical
practitioner. Later, there sons too were educated in schools and college there. I have recently come to
know that one of his sons is in the U.S. and that his wife is a good singer.
The salary of staff members in the Bhatkhande College in those times was too low to attract any
educated young man. But like Anna Saheb (Dr. Ratanjankar), Mohanrao also came here with a
missionary spirit at the cost of many personal sacrifices. He spent the best years of his life living in a
small room with Anna Saheb in the college premises. I wonder how many of his students realized this,
or remember his personal sacrifices, and the great role he played in popularizing Kathak in a region
which looked down on it with disdain. All credit goes to him for attracting large numbers of talented
girls (and a few boys) into the Kathak classes.
Rai Umanath Bali, a close friend and admirer of Pandit Bhatkhande and Anna Saheb set the trend by
admitting his own daughters into Mohanraos Kathak classes. His polished personality and ways
inspired confidence in many of the respected and affluent families including many of the Kashmiri
Pandit families of Lucknow to send their educated young daughters to become Kathak students under
Kalyanpurkar. Some of them were spotted by talent scouts from the film world of Mumbai and lured
away. Among them, two who achieved fame, but faded away subsequently were Yashodhara Katju and
Swarnalata Syal (a Punjabi from Delhi) who became famous for her role in Ratan, but married a
Muslim film director and migrated to Pakistan!
In my batch were Swarnalata, a pretty Maharashtrian lady, a tall Punjabi girl and a young but very
talented girl from Andhra Pradesh. The most vivid thing that I remember about Mohanrao Master
Sahebs classes was the fragrance of Mysore agarbattis (incense sticks) that always filled our vast
classrooms. When all of us arrived a little before 3 p.m. daily with our ghunghroos, the fragrance of
these agarbattis, the booming sounds of the tabla-bayan and the repetitive lahra (most in Multani)
would welcome us from afar. Like his revered Guru Pandit Sunder Prasadji, he too used to start his own
riyaz and classes after lighting a bunch of incense sticks in front of the large garlanded portrait of
Maharaj Bindadin in the classroom. This indicated their close affinities with and allegiance to the
Binda-Kalka gharana of Lucknow.
Mohanrao gave up his science degree course mid-way in order to devote himself totally to the study of
music and dance. He learnt tabla from Ustad Ghulam Mohammad Khan, sitar from Ustad Mohammad
Khan, and on July 15, 1938 he became a true Gandabandh shishya of the famous Kathak Guru Pandit
Sunder Prasad of Jaipur. The guru-shishya bonds became almost like a son for the Guru whose joys
and sorrows the shishya lovingly shared till the passing away of the Guru.
Born in Rajasthan in 1898 in village Karwadi, Sunder Prasadji belonged to a family that has produced a
large number of famous dancers of Jaipur gharana Kathak. Sunder Prasadjis father Pandit Chunnilal,
must have been a very broadminded guru, because after training up his two sons Jailal and Sunder
Prasad excellently in Jaipur Kathak, he sent both of them to Lucknow for intensive training under the
peerless Maharaj Bindadin. Thus the Kathak that Mohanrao imbibed from Pandit Sunder Prasad was
the rich blend of two gharanas. That he was considered an exponent of the kalka-Binda gharana is
obvious from the fact that later, when he became a disciple of Gurus Achchan Maharaj and Shambhu
Maharaj in Lucknow, they refused to have the ganda-bandh ceremony because they considered him
a gurubhai.
In 1937, Kalyanpurkar persuaded his guru Sunder Prasad to start a Bindadin School of Kathak in
Mumbai for which they got a suitable place in Gamdevi. Mohanrao said that they got all the necessary
equipment (including even ghunghroos) as donation! Immediately after the grihapooja, the first
dance item was an abhinaya piece by Guru Lachchu Maharaj to the accompaniment of the well-known
Bindadin Thumri, Mein Khelungi Unheense Hori Guyyan. The school became a meeting place for
B
i
r
t
h


c
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y

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:, |--|: +|:-|, || |-|-|| +-|| |+|, |-| c| +:|- +++|-| | .|-
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75
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n. _mohZamd H`mUnyHa
"bhOm', 2006
amo{hUr ^mQ>o
`mV {deof JmObo`m
mohZamdOtm XmoZ aMZm hUOo
_hmHdr Hm{bXmgmM "_oKXV' Am{U
"dma AS> nrg' hm
`m Hmir JmObobm EHm
Hmbg_mVa {df`mda
HWH Z`m`m _m`_mVyZ
^m` Ha`mMm AmYw{ZH `moJ !
HWH`m jomV,
{dgm`m eVHm`m
{Vg`m-Mm`m XeHmV
Agm `moJ HZ nmhUmao
Vr. _mohZamd n{hboM ZVH AgmdoV !
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;-+ +|-| ! || + +|- +|-- +.|+.-|. |-u || +-|-|. +|- +|| ~| |++|
|-- -|| ~|, +| | |+c- ||+| +|-.
+||-- u-|| +|| +|-|+| +|-|-+|:| +|+ |-++|| +|- |-|
| -| :| +|-|- +| +|:| u||| +|+ + -| -||+u|-|- -+| - +:-||-|
|| +|| +|- +- . +c|-+ -|+|- + ||++ |c+|c+|- -||| ||| +-| :|
|--+ + +| |+|:+ |+- +- |-. warm-up +|| -- -|-| -+||- +c|
+||| |-,| |+|- ++- ++ ++ += +|+- |- +|c|+- +|-| +|c +||-|,
75
|| ++|-| a+a|u|| ++| +|
|+- -,- +| |++ ++ u-+ +|+, |
+|:| e +|++| +|~| .+ c ~|| -|.
+| -|+ +-|+ + | |-|. +|+-
+|-|,+: || |+- |+|, .-|- .+-|-
|| +|+||| -+- |+++ +-||- +|-|+
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+|-- || +|:- +||- - +
-|.+|-|+| + :| --+, +|:+, +|--
|| -|| |-- - u| |- -|+ |++|
+|++| +- |-.
+|:| +||+-|--| +| ++-+- =| +:|
|+||+|-- -|. +|-|+|-| + +|~| c ~||. |-|
+| u-|| - |-+|| +||+ || +|~
++ |- |+||| -|-| - |-- +|:|
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|+-| -+ +-||c| +| --| +|- +|- +|c|
|- - |+| ++|-| ! |+- +| -|.
+|-|+|| +-|- +|:| +++-| ++-||+:
++ ~|| |+|! |-| +| |-++|| +|-
+-+|- || +|+ +|c :|u+ || -
|-= ||- +|- +|!
n. _mohZamd H`mUnyHa
"bhOm', 2006
amo{hUr ^mQ>o
`mV {deof JmObo`m
mohZamdOtm XmoZ aMZm hUOo
_hmHdr Hm{bXmgmM "_oKXV' Am{U
"dma AS> nrg' hm
`m Hmir JmObobm EHm
Hmbg_mVa {df`mda
HWH Z`m`m _m`_mVyZ
^m` Ha`mMm AmYw{ZH `moJ !
HWH`m jomV,
{dgm`m eVHm`m
{Vg`m-Mm`m XeHmV
Agm `moJ HZ nmhUmao
Vr. _mohZamd n{hboM ZVH AgmdoV !
+-+-|, +-+-|| -|+ -+-, .= .|+|- --+- ++-| +-+ +, +-|| |+|-|
|| +-| || .|+|| |-+: |++| - +-| |++| ++|- +|-+- -- -c+-|-
|-|+-| -+-- u +- +|+-|| .-|-|!
-+| +|, +c-| ++| |c+- -||, -| +| -c +- |:| | ++ +,|- ~|-| +|
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+-|| -+|-|- +|~ - .-- +-|-| :+| | +| a- || |-|... | +|:|
+||+-|-| |-|-| |:+ !
+| |-| +c+|+ +|~ - +- |- ~| || || +|+- |-|- |- +e ++
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77
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-|| -|- ||. | +| +|:| u| |+-+ .|+ +-|-| ! -|. +|-|+|| |+-||--| -+
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+-+-|, +-+-|| -|+ -+-, .= .|+|- --+- ++-| +-+ +, +-|| |+|-|
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-|-|, -|. +|-|+| || |+-+-||| --- |||| ++-|| +- - - +|-|
matter +....--|+|-|+ +|:-|| : .--|+ .. || -| +,-|- +|-+ +- |-. +|:|
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a+a|-- - :|+-| |+|+ |!
77
+ - -||+u|-|- | |, +| |- +| - +| -| c+- |- -+|- |-, || - ~|
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|| +|-+ - +|-: +++- +: |-| ++. +|:| +-++;| |c+|| +||
-|| -|- ||. | +| +|:| u| |+-+ .|+ +-|-| ! -|. +|-|+|| |+-||--| -+
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These people graciously shared their archival material -
photos and articles to make this exibition possible.
We can not thank them enough....
Dr. Vinod Kallianpurkar.
Shree Bharat Kallianpurkar.
Smt. Ambika Diwgi.
Smt. Rashmi Vajpeyi.
Dr. Sunil Kothari.
Smt. Padma Sharma.
Smt. Purnima Pande.
Smt. Ruchi Khare.
Shree Subhash Chandra.
Smt. Bhagyashree Oke.
Smt. Uttara Coorlawala.
Smt. Pranati Pratap.
Smt. Aruna Kelkar.
Kathak Kendra - New Delhi.
Sangeet Natak Akademi - New Delhi.
N.C.P.A.- Mumbai.
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These people graciously shared their archival material -
photos and articles to make this exibition possible.
We can not thank them enough....
Dr. Vinod Kallianpurkar.
Shree Bharat Kallianpurkar.
Smt. Ambika Diwgi.
Smt. Rashmi Vajpeyi.
Dr. Sunil Kothari.
Smt. Padma Sharma.
Smt. Purnima Pande.
Smt. Ruchi Khare.
Shree Subhash Chandra.
Smt. Bhagyashree Oke.
Smt. Uttara Coorlawala.
Smt. Pranati Pratap.
Smt. Aruna Kelkar.
Kathak Kendra - New Delhi.
Sangeet Natak Akademi - New Delhi.
N.C.P.A.- Mumbai.
A School of Kathak Dance and Music
Udyog Bhavan, 'A' Building,
Tilak Road, Pune 411 002.
Maharashtra Cultural Centre
The Raza Foundation
Financial Support By