‘Nature is
Dancing, it is from her that we have to learn’
Pt Birju Maharaj, Varanasi, 1 April 2011
This often
repeated line by the legendary kathak guru Pt Birju Maharaj, brings light to
the fact that nature is a constant guru for any kathak dancer, to be observed
and distilled into a kathakaars body.
The umbilical cord kathak shares with nature is apparent right from its
inception , comparative description in Abhinay Darpanam and allied
treatises on dance, to the presentation
of kathak on stage.
In
mythology, the beginning of Kathak is attributed to the approximately 5500 year
old episode when Lord Krishna(Natawar) danced on the hood of the snake Kaaliya.
The slapping of the soles of his feet on the hood on the serpent resulted in
the emanation of the sounds Tā, Thei and Tata, primary bols of
kathak. In the words of Pt Lacchu Maharaj, Tā is symbolic of Shiva(Nataraj) or Purush and Thei is symbolic of Shakti or Prakriti(nature). The union of Tā and Thei
gives Tata thereby representing the balance of Purush and Prakriti. This
episode is popularly represented in Kathak as the Kaalia Daman Gat Bhaav.
Significantly, through his dance, Natawar also brings attention to the fact
that his intention behind it was to clean the Yamuna river, made poisonous by
the serpents venom. This brings to light, the responsibility towards nature
that every kathakaar carries. Natawar Krishna is also referred to as Gopala(protector
of cows), and in many representations in painting and sculpture seen standing
with a cow or gaumata, who is a symbol of nature. In another episode, instead of worshipping Indra, Krishna told
Brajvasis to worship Goverdhan, as the mountain plays a vital role in
maintaining the balance of nature. This is another popular gat bhaav presented
by all kathak dancers, where the oncoming of dark clouds followed by cloudburst is emphatically
depicted through lively rhythmic phrases.
In literature, the Abhinaya Darpanam written by Nandikeshwar,
a treatise dedicated solely to dance and expression, carries references to the
gaits of various animals. Described in kathak context in the book Kathak Darpan
Deepika by Dr Rohini Bhate, the gaits of the peacock, deer, elephant and horse
are depicted through illustrations, keeping in reference the original Sanskrit
descriptions given by Nandikeshwar. Pt Birju Maharaj’s mayur(peacock) gat and mahout
gat as well as badak (duck) tihai are a favourite with all kathak audiences,
who never let him leave the stage without performing one of them. His lifelike
imitations through the kathak format are a classic example of art imitating
nature. The ghode ki chaal, or footwork depicting the galloping of the horse is
part of the repertoire of all gharanas of kathak. In his youth , Pt Birju
Maharaj is said to have performed in Jhansi, where the audience just wanted to
watch different depictions of the horse gait for more than two hours. Though in
its current form considered a Lokdharmi(life
oriented) form of classical dance, both textual references in the shastras as
well as performances by veteran kathak masters lend support to interconnection of kathak and nature as seen
previously in the mythological origins of kathak.
The interconnection of human emotions and nature is another
subject that is explored in kathak. The
‘Kumar Sambhavam’ produced by Sriram
Bhartiya Kala Kendra, Delhi based on the poem by Kālidāsa was the first kathak
dance ballet to have toured outside the nation in the 1950s. A central scene is that of Parvati doing penance
through the various seasons. Each season was depicted using various kathak
bandishes. The depiction of Basant or
Spring was done in Raag Basant by the bandish ‘Sab Ati Suhavana Ritu Basant’, which is danced even today as a
stand alone item to depict the arrival of love in the nāyikas life. In the
Sanskrit khand- kāvya ‘Meghadoota’ Kālidāsa
describes the various rivers of north India as various nāyikas, a popular
subject in kathak bhaav-paksh. The
depiction of a nāyika in Kajri, saawan geet and jhoola, the popular semi classical folk
music of Uttar Pradesh found a permanent place in the bhaav paksh of Kathak in
the late 19th century. These songs are often used to describe the
longing of a maiden for her lover, using the imagery of black monsoon clouds as
they arrive in the summer skies, while she eagerly awaits the arrival of her
paramour. Another often seen character in thumris and dādras is the koel
(cuckoo or nightingale) who plays the role of sakhi(friend) as well as
messenger to the lovelorn nāyika. The nāyika laments about her separation from
the nāyak, shares her jealously upon seeing the love birds mate as well as
requests the bird to bring her news of the nāyak. The panghat or riverbank has
been often described as a location for the meeting of Radha and Krishna and
their ensuing romance(ched-chhad). In the iconic Kavitta written by Bindadeen
Maharaj he says ‘Tata Tita Krita Radha,
Din Dinata Krita Dhyan’ , where ‘Tata’ is a reference to both the river bank
as well as the kathak bol. Thus nature is both a friend as well as a witness to
the hero and heroine in Kathak.
Nature becomes a valuable tool in teaching the body language of kathak. Pt Birju Maharaj uses the movement of a snake to describe the movement of the spine in the ‘meend’ and ‘aamad’ movements as well as the serpentine walk in gat nikas (stylized gait in kathak nikas pose). The opening of the wrist in a sama position is very similar to a cat rubbing itself against its master, starting from the nose right upto the tip of the tail. Every muscle from the finger tips to the wrist is sequentially opened in lightening speed, as if the entire hand is caressing air. The Parmelus that are danced in Kathak Nritta use the sounds of nature like Taka Taka (pecking of woodpecker), Jhijhikita (sound of cricket) , Kuku (call of the cuckoo) etc. Intermingled beautifully with dance and pakhawaj bols. Thus every kathakaar can learn from nature and draw upon this wonderful umbilical cord of creativity.
