Posted on 27th January 2001
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| The much-awaited Jugalbandi programme of the two illustrious legends, Kathak and Odissi maestros, Pandit Birju Maharaj and Kelucharan Mohapatra respectively at Krishna Gana Sabha in the December season, was cut down to a Kathak recital by Birju Maharaj and his prime disciple Saswati Sen due to unavoidable reasons. The guru and sishya made the day a memorable one. Normally Bharatanatyam dancers boast of their art form as having the highest scope for both nritta and abhinaya. On contrary Kathak, in the South Indian aspect is considered as giving more room for nritta. Birjuji’s programme proved those ideas as being simply meaningless. It was a well-balanced one with equal importance given to both nritta and abhinaya. Even the nritta pieces were presented in such a way that it had a magnetic effect even on the common mass. The footwork (Tatkaar) was not presented as mere mathematical calculations, but were close to Nature as in the chirping of birds or the dancing waves and so on. Gat, meaning, walk or walking style in Kathak, includes the Nikaas (the regular Kathak stance), Ghunghat (a lady’s graceful walk in a beautiful sari adorned in the North Indian style, covering her face in the transparent pallu), Murali (Krishna with his Flute), Matki (a lady walking with a pot on her head), and are the normally presented ones, relating to stories or episodes of Brindavan. Birju Maharaj however, chose to present the rare Gaj (elephant) and Mayur (peacock) gat that kept the audience spellbound. The Bindadeen Thumri in Dadra found Maharaj-ji at his best in the Abhinaya. The beauty of lyrics found its best expression in the hands of Birju Maharaj. And the handling of Surdas’s lyrics ‘Shyam Tori Murali Mein Lek Bajaaoon' by Saswati, sung by Birju Maharaj himself remained yet another masterpiece. Her presentation of a Suddha Kathak piece in Dhamaar Taal (with a time cycle of fourteen beats) found Birju-ji on the tabla. The programme was not just a dance programme but found Birju-ji displaying equal command over vocal as well as the instrument, a quality that is hardly found in the gurus of the present day. Jack of all trades and master of none. So goes the proverb, but it should be modified into ‘Master of all trades and jack of none’ in the case of Birju Maharaj. His orchestral ensemble comprised Utpal Ghosh (Tabla), Prateek Banerjee (Vocal and Harmonium) and Zuber Sheikh (Sitar). Although they landed from different parts of the nation, they gave harmonious support to the genius. Every artiste was a master in his own field. Nevertheless, they waited for Birjuj-i’s instructions and proved their devotion towards this great man, a quality that is normally lacking among South Indian accompanists. Lakshmi V N |
| Posted on 27th January 2001 | |
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