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.