Prism - Resonating in Rasa - Sunil Sunkara

Prism - Resonating in Rasa - Sunil Sunkara: Prism - Resonating in Rasa - Sunil Sunkara

Ashta, Ashtak, Ashtapadi - From Eight to Infinity

‘Ashta’ or eight is a recurring number that connects with abundance and power. In mathematics it is the first cubed number(2×2×2=8). This pattern of Tihai, Trimurthi or Tridevi is again prevalent in Indian art . Eight as the number for abundance is depicted through the ashta laxmi.  The ashta disha and their guardians (digpala) as well as the ashtavinayakas are other occurrences of a power split among eight deities. In Mahayana buddhishm, we see the eightfold path of gyana while Patanjali describes the eightfold astanga marg of yog.

In Kathak, we see dance representations of the ashtakam as well as ashtapadi. The ashtakam is a ‘stuti’ or composition comprising of eight stanzas that are written in praise of a specific diety. For example ‘Champeya Gaurardha SharirakayaiKarpura Gaurardha Sharirakaya’ (one whose body shines similar to molten gold, one whose body shines like the burning camphor),are the opening lines of the popular ardhanareeshwara stotram, an ashtakam written by Adi Shankaracharya (8 C.E), who is one of the best known ashtakamwriters. Similarly another popular ashtakam is the Madhurastakam written by Vallabhacharya(15 C.E) that describes the beauty in every aspect of lord Krishna. One should note that in the traditional recitation of the astakam  the recital moves forth in linearity from start to end. There is no ‘signature line’ or ‘sthayi’ line that is repeated. But within the stanzas themselves we may see a repitition of words, as seen in the madhurastakam (akhilam madhuram)  or shivastakam (Shankaram Shambhumishanamidhe) 

In the following video we see Abhinaya Queen of Kathak, Saswati Sen present the Madhurastakam sung, composed and choreographed by Pt Birju Maharaj

On the other hand the ashtapadi meaning eight steps comes to fore due to Jaydeva(12 C.E.),  whose giti-kavya the ‘Gita Govinda’ heralds the bhakti movement in India. Jayadeva wrote his astapadi composition in eight sections, and each has been designed as a conversation between any two of the central characters-Radha, Krishna and Sakhi. The difference we see from the astakam format is that Jayadeva gives a ‘dhruva’ line that can be used as the ‘sthayi’ line of the astapadi.  For example in the astapadi, Lalitha lavanga lata pari sheelana, komala Malaya sameere ( the cool breeze of spring carries the fragrance of the clove bushes), the dhruva line ‘viharati haririha sarasa vasante nrutyati,yuvati janena samam sakhi virahi janasya durante’ (Krishna is dancing with the gopis in the beautiful spring, come let us go to him as we are pining in love for him), is recited or sung after every stanza. This brings forth the central theme of the astapadi which is the Sakhi describing Krishna’s exploits to Radha and urging her to go to Krishna. This same concept we see being used in the popular ashtapadi by Pt Bindadin Maharaj which describes the lakshanas of Kathak – ‘Niratata dhang ang Sudhang’. Each stanza describes the various imageries of the dancing Krishna with the recurring refrain of ‘Niratata Dhang’. The following video is a choreography by Kathak exponent Shambhavi Dandekar ji on this eternal composition. 

We see an influence of the Astachaap on this work by Pt Bindadin Maharaj. The disciples of Vallabhacharya, the eight Astachaap poets are truly responsible for establishing the path of bhakti through Hari shringara. According to Vallabha tradition, one night in 1494, Vallabhacharya received the Brahmasambandha mantra (the mantra that binds one with Brahman, or Krishna) from Krishna himself (mukhāvatāra) at Gokula. The eight-syllable mantra, śri kṛṣṇaḥ śaraṇaṃ mama (Lord Krishna is my refuge), is passed onto new initiates in Vallabh sampradaya, and the divine name is said to rid the recipient of all impurities of the soul (doṣas) . Vallabhacharya expounded the principle of pure non duality or shudda adwaita. The brahman and the soul are but one and realization of Krishna is also equivalent of self-relaization. Here we see the interrelation  of the '2' and '8'. An astapadi that truly moves me is ' Shri Nand Nandan Nachat Sudhang' by Surdas, the most acclaimed of the ashtachaap poets. In the below video we see Kathak Exponent Rani Khanam ji beautifully presenting this through a beautiful choreography. 

Through the Eyes of the Shisya III: Sharing on Guru Renu Sharma

While the artistic world in Kathak does focus largely on legendary performers and Gurus, often coming from hereditary families, I believe that there is also another way to look at it as many a times it is people in our lives like our mothers and teachers, that bring out unexpected and sometimes legendary aspects in us. This tattva is what constitutes the spirit of mentor-ship, much needed today in a world where multitasking and multiple-professions seems to have become the norm. This is what motivates me to write about Guru Renu Sharma or Renu Didi as she is called by her students. In her own words to me , 'Be cool like Lord Rama.I will be there to remind you of your prowess just as Hanuman always needed to be reminded of his mightiness and power to move mountains !! ', lies the seed of true mentor-ship

With Students after a Rehearsal

Having received her training in Lucknow from the masters of the the art form, she graduated in Kathak from the Bhatkhande Sangit Vidyapith and went on to receive the national scholarship to study at Kathak Kendra. Not many know that she had actually been placed at Indian Institute of Technology, Kharagpur post her Honours graduation in Physics. It was Pt Birju Maharaj, who over a dinner at their residence nudged her family into sending her to Kathak Kendra. At once fearless,but at the same time traditional, adapting herself continuously to changing times, but retaining the wisdom of Awadh, she truly resonates the paradox of being a modern-traditional. 

L: Renu Sharma with Pt Birju Maharaj and Guru Vikram Singhe R: In Laya Parikrama-1981

She currently straddles two worlds, one as the director for all activities and classes at Pt Birju Maharaj's Kalashram Mumbai, where she brings the subtle nature of Lucknow culture into Mumbai's fast paced students. and another as the secretary. ALPIKA, Lucknow's  premier cultural organization where she takes a little essence of Mumbai in her role as an art curator bringing a lot of organization into Lucknow's cultural scenery. From her I have imbibed over the past decade, the ability to create new concepts out of 'fragments of ideas' as well as explore poetry from Tulsidas, to Sumitranandan Pant to modern day Ruskin Bond, within the framework of  Kathak. 

A repertory member of Alpika, and student since last 6 years, Anupriya journeyed from Varanasi to Mumbai to pursue her singing career. Through her journey in Kathak she now finds herself greatly enriched in exploring the emotions(bhaav) when singing any line. Renu didi has been mentoring her both in her kathak and music ventures, often bringing them together as Anupriya composes new songs to add into the kathak repertoire, under Renu didi's direction. 

L: Anupriya and Renu Didi R: Antara and Renu Didi

Today Apr 30, a day after the world dance day is her birthday and I conclude by sharing a sweet birthday message from Anatara. Having learnt from Renu didi (Renu Ma'am for her) since she was practically a toddler, Antara is a most promising students and a favorite of the rest of us students. For Antara, she is not a guru or mentor but  second mother, an umbilical cord that has been forged through the art of Kathak. 

A Journey Through Time- Experiences being a student at Bharata College of Fine Arts & Culture

The last two years I was a student at Bharata College of Fine Arts and Culture, which I have found a transformative experience totally worth sharing! Being a Nerd all my life, when I started learning dance, I automatically was drawn to the dance texts and history. Being a scientist, I used to wonder what is the science in the Natyashastra (it being called the Science of Art). Well the answer is, once one does a bit of underwater swimming in the pages of the shastras, one does emerge out breathless, but wanting to know more about the subtle , sometimes hard to grasp science of dance  which truly is the science of life itself. 

The essence of the Natyashastra I found in the Sattvabhava or Samanyabinaya, which is elaborated in the 24th chapter. Upon reading that once realizes that the angik, vacik and aharya abhinaya that we spent the previous 23 chapters over, was just setting the stage for this glorious chapter that truly ties us to the rasa theory. When the dancer can feel and express the sattvik bhava, only then is the bhava translated to the rasika, in whose being the rasa can be evoked. Dance these days is many times focused on the angika, especially because there is so much to explore in that. But the sattva, which we do not think of in great detail is where the magic truly lies. 

In the Vishnudharmottara Purana I understood the mantra 'Rasa is Real' ie that which generates the rasa is 'real' art. This puts into perspective the importance of stylization and deviation from absolute reality in every Indian art. In the Malvikagnimitram of Kalidasa I learnt about how a student should truly be - one who takes a grain of knowledge from the Guru and works on it till it becomes a pearl. What a thought! recently, while anchoring a kathak evening at Kalashram Panchtattva Festival, I shared the same thought albeit impromptu to much appreciation of the audience. On that day I realized that its not learning the shastras but making them part of your own essence that is the true victory. When my friends jokingly say that I keep sharing my 'Bharata college Gyan' at the drop of a hat, I realize that the nerd in me is totally happy to her that!

The examination pattern at the college pushed me to think of innovation while presenting the practical portion every semester. With the help of discussions with college kathak mentor Paullumi Mukheerjee I hit upon new narratives that I could present - A taal chakra of prime number taals, interlinked presentation between Geet Govind and Bindadin Maharaj Thumris, Connecting divinity with the taal eg Laxmi taal with stories of goddess Mahalaxmi and in the finale a Kathak Yatra based on 5 Mishra Jaati Taals , each connected with a different musical style. The preparation and planning for each exam sometimes bordered on crazyness, where it was a tightrope walk between 'Aa Bail Mujhe Maar' and 'Swantaay Sukhaay' ! Huge credit to the brilliant musicians Satyaprakash Mishra, Amit Mishra, Somnath Mishra, Alka Gujar and Harshal Wadavlikar who brought my concepts to life. The final cherry on the cake used to be expert touches by Renu Sharma didi that brought everything together!

I was also lucky to be able to spend a number of hours with Dr Sandhya Purecha and Bhavna Shah, who often gave me books from her collection of more than 4000 books. For a bookworm like me , these were great treasures.Every conversation with Sandhya Tai opened some new avenues of thought and created the right perspective to tackle the shastras. Especially since Kathak is commonly considered to be more lokadharmi and a little distant from shastras, this was a game changing experience.

At the same time a college always goes with college life and fun memories are part and parcel- eating yummy food from Anmol auntie who sold lunch outside the college gate, milkshakes accompanied with exam discussions, Paullumi di running behind me with a black thread to protect my injured leg after my ligament injury last year, Karan, my study-mate and me walking around shivaji park at 1 am eating french fries and icecream, the night before the exam while trying to mug up the genealogies of kathak families (trust me it takes a while), freaking out the first years with our supposed superior knowledge, so on and so forth. Kudos to Bhavna tai, who always made us laugh and feel at home! 

All in all an experience that has enabled me to be a thinking dancer, I highly recommend a dip in the shastras to everyone! A little tougher than a dip in the Ganga, but far more enriching! The more time we spend with them, we come across revelations that can change our life!

A collage of few memories from the past 2 years

All we need is Dance....

Today was the inaugural day of the Sanskriti Arts Festival at Thane Upvan and the ALAP Kathak Ensemble was given a wonderful platform to present Gazals on the Virasat Stage. I was joined by graceful ladies  Trupti Chiwukula, Gayatri Bhat, Tejas Desai, Manisha Jeet and Paullumi Mukheerjee in presenting the different hues of love. Post performance, when hunger struck we wandered onto the upvan lake promenade and as we were eating, suddenly drifted to us the sound of one of my favourite songs 'Chowdhary' by Mame Khan. He was performing at the Tarang Stage and we finished our food and rushed to hear him. As we were swaying to his songs, he suddenly called on our group as he spotted from the stage that kathak dancers had wandered into the second row ( some of us still in costume ) . He invited us to come dance to to his laal meri followed by chhap tilak. Coincidentally chhap tilak was the closing piece of our kathak performance earlier in the evening. It was as if a greater divine force had conspired to bring us to that moment , unknown to us. As all of us danced away in uninhibited happiness ( Mame Khan ji being a total favourite among all of us) It was truly apparent that all we need is to dance ( taking a cute from the hit western number all I need is love).

Its moments like these that make all the hard work , pain and tears that go behind a performance , just evaporate into thin air and we reconnect with the reason we all began dance- just for simple undiluted joy! Leaving you with a small clip that was sent to us by an audience member who captured us in those wonderful moments...

The Lata(Creeper) of Kala(Divine Art)

Today I attended a wonderful talk on Divinity in Art organized by the New Age Sage in Andheri, Mumbai and hosted by Anurag Chauhan . The speaker Kalashri Lata Surendra, a Bharatnatyam veteran who has spent 5 decades on the stage shared moving experiences from her life on the challenges she faced in truly spreading the art and just like her name, the creeper of art had to be nourished by her against all odds.As she ended her talk by addressing the young artists in the audience, she said, 'Do not give up on art, hang in there!!'

(L-R: Jalpa, Guru Renu Sharma, Kalashri Lata Surendra, Shruti Vaidya, Sunil Sunkara, Anurag Chauhan)

 Latakka, as she is called by her 'kannas', shared how her father was truly the driving force behind her becoming an artist. He is the one who told her that after every performance you see, touch the stage the artist just danced on, so you can get blessed by the vibrations. This propelled her with the desire that one day her father would watch her perform on stage. She mentioned here how important it is for parents to recognize the talent in a child and take them to the correct Guru for training. A lack of either can lead to improper nurturing of a child's talent.

'Become one with the pain' she further said. As a dancer, one has to overcome physical pain and not be affected by it. Just like in the Gita, Krishna says that a Dhyana Yogi is one who is untouched by the trials of the body or the surroundings, so should a dancer be, to experience the 'Sukha' of being one with the dance.

Lata Surendra and Anurag Chauhan in conversation

The pregnant silence between sound, the pregnant sound between silence... the pregnant movement between stillness, the pregnant stillness between movement... as a dancer one has to understand this in order to create. Rhythm is what makes a movement dance and is the absolute essence of life. At the same time one has to remember that we are recreating the stories of yesterday, in order to give the today the future. Thus innovation can be done, but not outside the bounds of tradition. While one has to be aware of the changing trends in society, one cannot forget, that stories and philosophies in our dance can help heal the wrong trends in today's society.

L-R Sunil Sunkara, Aavinash Payal, Anurag Chauhan, Madhusudan Menon

Through the eyes of the Shishya 2: Sharing on Guru Dr Tushar Guha

A sharing by Girish Dalvi on his Guru Dr Tushar Guha

l

When two people cross the path, eye meet, glances exchange and sometimes a conversation begins. It is this time that a relationship begins, we get introduced and discover something. Relationships are a part of life till the time one meets death. Nothing can be done without a relationship, each step builds a desire, a memory to discover self always.

Relationships are multipe for they are named differently, evoke varied emotions and have set boundaries. These boundaries are of compulsions, comfort, togetherness and sharing. One such relationship is between a student and his/her teacher. As cliché as it sounds, but our first teacher is our mother who introduces us to the journey of life till death. However, its boundaries restrict us to grow beyond a particular capacity, to a particular goal, discovering new learning’s. With age equation and boundary with mother restricts the learning, divides attention, cause this very teacher has helped us get introduced to new avenues. This is the time when we get introduced to someone who is more inspiring, very influential, giver, groomer to interesting and passionate learning’s and that is our beloved teacher.

They say, “A teacher is the most proudest when his/her student grows beyond.” But I feel, teacher at every stage has and is always one step ahead of his/her students primarily because, student’s achievement adds to the achievement of the teacher. It is the teacher who has allowed the student to think, to believe, and to evolve beyond so as to be able to experiment and grow.

Teacher and student relationship is very dramatic and always mysterious. And it is this very combination makes it special and keeps it going. The day the mystery does not exist, the bond and the need of the student and the teacher dies. Let us look at the relationship between a student and his/her Guru of performing arts. This seems special for it is a simultaneous run between student and Guru of coexisting to survive. Very few but blessed students have Gurus who let go and build their student’s existence through a happy and successful journey.

Here I remember my teacher, my Guru Shri Dr. Tushar Guha, Founder of Nrityanjali, the institution of performing arts, education, personality development and management services, based in Mumbai. He allowed me to realise my potential, build my self esteem and explore my dreams of desires in life. Though I on an obvious way began learning dance, I learnt much more that needs and is essential towards building equations and managing emotions for a better tomorrow. Learning that dance could be a medium to build ones sound and approachable personality was a boon. This helped me discover my skills beyond dance, into public relations and creativity that helped me have a safe and secured professional life. This automatically encouraged me to pursue my love for dance as passion while sustaining self for a better living.

Today I am a known artiste capable to perform Indian classical dance Kathak, Folk dances of India and be an able choreographer and manager. I am travelling around as a professional working towards training, education and social work, yet being able to introduce myself as a successful artiste. What I have tried to express is the need and the essence of the relation than about my Guru for I am no one to talk about him as it is beyond my capacity. The only thing that seems obvious is that every student of my Guru feels ‘I am special and very close to my Guru.’ Though obvious and visible among everyone, no one feels jealous of each other, but it has helped us build a strong bond. Jokingly we say that he is the centre of the circle that his students have formed and each one connects through him, like each Gopi connects to each other through Lord Krishna.