This recording features a Kathak recital by the legendary Pandit Birju Maharaj accompanied on the Tabla by the well known maestro Ustad Zakir Hussain. The concert was recorded at Shivaji Park, Mumbai on 28th December 1991.
Kathak originated as a mimetic, recitative art of storytelling that evolved in the plains of Northern India. Kathakar's were often invited at social and religious ceremonies to hold story - telling conceIts. The stories were mainly drawn from Vaishnava literature. From II th century A D onwards Northern India was ruled by a series of Muslims dynasties who viewed dance amd music as a form of secular entertainment rather than a spiritual or religious act. Kathak being a prominent dance form, was introduced in the royal courts. The court dancers were encouraged to explore the sheer beauty of movements and the joy and excitement of rhythms with minimum or no reference to the Hindu mythical structure of Hindustani vocal and instrumental music. Mime and story - telling was not lost altogether, thanks to a few tolerant rulers and contributed to the emergence of a highly subtle and specialised form of Abhinaya in the form of thumri, dadra, ghazal, etc. Today's Kathak reflects the socio - cultural changes that were brought about by the two great religions - Hinduism and Islam, over the vast plains of the Northern India.
Shiva Stuti The dance opens with an auspicious invocation to Shiva - the eternal cosmic dancer. The famous Sanskrit couplet (Angikam Bhuvanam Yasya) describes the entire universe as an expression of Shiva's Angikam (Communication through physical gestures), all literature as his Vachikam (communication through the spoken syllable), celestial objects as his Aharya (communication through costumes and accessories), and finally pays homage to the cosmic dancer, who is the embodiment of Satwika himself.
Ghunghroo Ki Uthhan Birju Maharaj describes his dance as a painting on the canvas of Teen-tal, the Ghungroo (the brass bells on his ankles) acts as his pen while he colours it with his Ang (movements of the body). In every cycle he creates a new design that culminates in the Sam (the first beat of the cycle). Zakir takes the lead a few times while the 16 beat cycle is marked by a refrain called Lahara on the violin,
Having well established the parameters of Teen-tal, Birju Maharaj now sets off to explore further into Nritta Uthhan, gives an introduction to the graceful use of Anga. In Thaat, brief rhythmic patterns culminate into a series of mesmerising poses. Paran Amad is the confluence of the Tandava and Lasya Anga through the vigorous and masculine Paran and the graceful and lyrical Aamad, Padhant is a unique feature of Kathak which allows the dancer to speak the rhythmic compositions before executing them. The compositions seem to come alive through the voice, preparing the audience for the visual representation that follows.
Sawal - Jawab is another unique feature of Kathak in which either the dancer or the Tabla player improvises a rhythmic pattern within the boundaries of the tal and theother immediately reproduces it. In ginti (counting) numbers come together in various combinations to creat Tihais of varying mood and character. According to the classical definition, nritta aims to create abstract beauty in space and time without any meaningful communication. For Birju Maharaj even the abstract dance syllables speak of human experiences. He recites and dances several of his abstract compositions that bring out the narrative in the bol-s.
Ustad Zakir Hussain performs throughout this journey with sensitivity that reflects a perfect artistic harmony between the two artists, though there usually is no rehersal before a concert.
Continuing the performance through an amazing variety of traditional and improvised compositions Birju Maharaj finally reaches gat. Through a series of highly controlled gaits and subtle movements of the wrists, torso, neck and eyes the dancer paints a dynamic picture of a whole range of mythical characters. Naav-ki-gat depicts the motions of the boatman as he rows his boat. Mayur brings alive the joy of a peacock as it dances in ecstasy watching the clouds gathering in the sky. In Pang hat (the village well) he is embodiment of feminine beauty portaying village women as they go to fill their pitchers at the panghat . In his hands this simple daily chore is transformed into a highly artistic expression of grace and beauty.
Thumri Tliumri is a highly stylised form of singing which, though does not strictly fall under the category of classical music, demands a total mastery over classical training. In Kathak, Thumri is a specialised form of gestural communication. The lyrics of the song are usually erotic in nature. The dancer interprets the song using physical dance gestures and facial expression. Beginning with imitative interpretation of the words, the dancer further explores to communicate at higher levels of human existance. In this Thurnri , composed by Bindadin Maharaj and rendered by Birju Maharaj / Ashit Desai, the Nayika (the lady in love) implores Krishna not to obstruct her way and embarrass her in front of her friends.
Birju Maharaj Born in the family of the famous brothers Kalka and Bindadin Maharaj, Birju Maharaj is the torch bearer of the Lucknow School of Kathak. His recent family history can be traced back to Thakur Prasad who was appointed as the dance instructor at the royal court of Oudh during the mid-nineteenth century. As a child immersed in music and dance. young Birju was taught briefly by his father Achchan Maharaj who died at arl early age and later on by his illustrious uncles Lachchu Maharaj and Shambhu Maharaj . At the age of 29, he was awarded the Sangeet Natak Akademi Award and later honoured by the Government of India by Padrna Vibhushan - the highest civilian award of the country. Sucessfully continuing the dance traditions of his family Birju Maharaj is also credited for a number of new developments in Kathak that have paved the way for the new age in Indian classical dance.
Indian classical dance performance is traditionally believed to be an act of creating beauty through designs in space as well as time, thus making the presentation not only visually pleasing but also an enjoyable audio experience. For the first time in the history of pre- recorded music. Sony Nad - Navras ventures to capture those dynamic designs in a dance performance created by an impromtu interaction of two great masters - Birju Maharaj and Zakir Hussain.
The story - telling aspect giives the Kathak dancer certain privileges over other classical dance forms. He has the liberty to communicate verbally to his audience. An intelligent dancer often uses this informal mode of communication to draw the audience closer into his magic world.
The concert begins with a short introduction on Tabla by Ustad Zakir Hussain. Using the teen-tal(a rhythmic cycle of 16 beats) as his frame of reference he creates a whole range of designs in rhythm of varying moods, tempo, and intricacy.
Ustad Zakir Hussain Ustad Zakir Hussain was born in 1952 to one of the greatest Tabla players of the contemporary period, Ustad Alia Rakha. A child prodigy, Zakir started at the age of seven and was already touring by the age of twelve. By the time he was in his thirties, Zakir Hussain was not only established as a national treasure in his own country, India, and acclaimed as an Ustad (maestro) by his peers and seniors, but also recognised as an international phenomenon. His consistently brilliant and exciting performances have been marked by uncanny intuition and masterful improvisational dexterity, founded in formidable knowledge and study.
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