This Mythological Ballet is a compilation of the seven varieties of Tandav one finds in the historical texts, viz. Tripura Tandav, Ananda Tandav, Gauri Tandav, Kalika Tandav, Sandhya Tandav, and Samhar Tandav.
The music of the choreography is in the form of Lamchhad Kavitta or Melodies. These seven kinds of Tandav are not only a revelation of the mythological fables, but are also purely engaging visual treats to the audience. The combination of lights, sounds and the energetic dance is merely mystic for the viewers.
Nirantar Anant se Anant tak
This ballet is a unique blend of various melody and rhythm based instruments, with the grace and strength of Kathak. It focuses on the characteristics of instruments, taking inspiration from it, and interpreting the Swar and Saj. The dawning is marked with a Vandana about the Pancha Mahabhutas, composed by Dr. Rohini Bhate , merely executed on the beauty of vocal assistance.The vandana provides clarity to the viewer about the concept of Nirantar.
Followed by this, comes Teentaal (16 beats) , with the accompaniment of Tabla. This is carried forward by the melodies of Flute , Sitar, after which the energetic Chautaal on the Pakhawaj is an eye catch.The Ballet ends with a traditional Tarana, which is the point of amalgamation for all the instruments and dance.
The variety of traditional kathak supported by different melodies is surely a visual as well as a harmonious treat for the audience.
ItihaITIHA : A tradition that follows
About the Ballet
With a drive to regain touch with the nuances of Abhinaya, Itiha, takes us through the enchanting journey of Nrutya, through various traditional as well as contemporary musical compositions, based purely on Abhinaya or Expressions. It has been executed in such a format, that the viewer experiences the traditional way of “ Katha Kahe So Kathak Kehlave “, where in, the dancers themselves explain the next composition, the thought behind the music, the choreography, along with the gist of the text in it.
The depth of this Kathak Ballet gradually ascends, gathering a variety of captivating touch points, viz. Bhajan, Sadra, Kavitta, Thumri, Kajri, Jhula, Chaturanga, Hori, etc. although, the end of the session is marked by a leading-edge musical version of a new Taal of 3.5 beats, freshly composed by Guru Maneesha Abhay.About Taal Rohini
The taal has been rightly named as a tribute to the legendary Guru, Dr Rohini Bhate.The choreography of this modern musical composition, despite the avant-garde music, involves conventional Kathak Repertoire. ( Uthaan, Thaat, Amad, Paran Amad, and so on) The beautiful mélange of the modern and the conventional, is therefore an aesthetic thrill to the viewer.Nomenclature of Taal Rohini
Rohini is one of the Nakshatras in our galaxy. The Moon rotated roundabout this Nakshatra for 3.5 days. Hence the name is an escort of a humble offering to the lauded Guru Rohini Bhate ,who is the righteous pioneer of Anvat Half Matra Taal. (7.5 : Taal Neel, 11.5 : Taal Sohan, 10.5 : Taal Chitra Rupak, and so on)
Guru Rohini Bhate’s dream project ‘Krishnayan’ persists as an enchanting dance-drama through her disciple Maneesha Abhay’s work. Melding the traditional storytelling format of Aakhyan with a visual narrative of rhythm, rigour and grace, Krishnayan seeks to attain one of the defining points of Kathak as storytelling.
Lord Krishna’s celebrated story rivets once again – unfolding in the by-lanes of Gokul, in the grazing pastures at the foothills of Govardhan, through the uneasiness in the palace at Mathura to the joy of the devoted companions. The transcendental weaves through the corporeal, Bhakti and Leela knit, and the Path and Essence manifest together in Krishnayan.
MAYA DARPAN Kathak From the Silver Screen
As the name suggests, this engaging ballet is a projection of Kathak throughout the Marathi and Hindi Film Industry. The inspiration behind this project ,are a variety of melodies from the movies, that are relatable to the laymen which indeed serve as a platform to help Kathak reach to the doorsteps of one and all. The different performances are beautifully woven in a way that would try to cover all the different aspects of traditional Kathak.
The beginning is marked by a Marathi Ganesh Vandana, which is then followed by a medley, a few kavitta, thumri, and so on. The end, however, is with an energetic Tarana, which subtly touches all the specialties, viz. Padhant, Tatkar, Tukde, Tode, etc. which is a treat to the viewer as well as the listener. It creates a direct paradox for the viewer, as after having seen a complete journey of Kathak through the film industry, the revelation of the authentic essence of the art form is spellbinding.