KATHAK WORKSHOP
By world-renowned Kathak Exponent
Parwati Dutta
Director - Mahagami Gurukul, Aurangabad
Senior Disciple - Padma Vibhushan Pandit Birju Maharaj
Gramsci Foundation in Association with Indira Gandhi National Centre for the Arts, Southern Regional Centre, Bangalore
EVENTS
Date
21 to 25 September 2016
1:30 pm to 6:00 pm
Timings
IGNCA - SRC, bangalore
Venue
The Dignitaries:
Dr. Deepti Navaratna ~ Executive Director - IGNCA-SRC, Bangalore
Guru Parwati Dutta ~ Founder Director - Mahagami Gurukul, Aurangabad
(IGNCA & Gramsci Foundation members..)
DAY 1
INAUGURATION
NUANCES OF KATHAK
DAY
1
Teaching Thaat, Uthaan and a few Ginati Ki Tihais, Guru Parwati Dutta, and several core aspects that Kathak dancers need to be aware of and work all their life as dancers to improve continually - right from the way to stand in order to create the feeling of floating in space, the essence behind movements, the Mukh Vilas (i.e. the facial bearing), aesthetically drawing lines in space, subtle neck movements, torso stretch and compression, fine wrist movements, body angles, manner in which to shift weight and connection between minor and major parts of body for certain movements!
DAY 1
DAY 2
NUANCES OF KATHAK
Ginati Ki Tihais and Parmelus. While on one hand Tihais were lessons on Layakari and ways of making variations by rearranging bols and changing tail endings, on the other hand were also lessons on nuances, tiny little flourishes that will make the rendition of footwork patterns more interesting and enjoyable. When teaching Parmelus, Guru drew the attention of participants to think how different intra-forms (a term coined by late Dr S K Saxena of small pieces of Kathak) of Kathak have different flavors!
NUANCES OF KATHAK
Dance Historian and Curator, Sri Ashish Mohan Khokar ji , graced the occasion and observed the workshop in progress!
Guru introduced participants to Dhrupad - it's history, relevance to Kathak , a lot of background about the essence of the singing style before touching upon SoolTaal theka and the version of the same used generally by Dhrupad singers.
When teaching certain 'chaals' (graceful gaits or stylized walking) suitable for a Tansen's Dhrupad composition, "Tero Bal Pratap", the emphasis was on to understand the style of music well and then use movements accordingly in order to do justice to the music. She empowered the participants with the thought process that needs to go behind when using Kathak movements for Dhrupad - e.g. the spherical nature, the heavy weight, dignity, continuity of movements without rough edges!
DAY
3
NUANCES OF KATHAK
DAY
4
Day 4, was the focus towards more powerful intra-form of Kathak - Parans. Guru Parwati, picked few 'bandishes'(traditional set compositions) which participants were familiar with and then emphasized once again on the nuances related to the same. Emphasis was on how the same movement that was used in Parmelu, now had to be rendered in a different manner. Variations in the 'bandishes' that she made, helped participants understand , how to compose based on traditional 'bandish'. She drew attention of participants to think about the way Pakhawaj is played, it's powerful and resonating sound and then use the flavour of movements accordingly -with concrete examples. Also in focus was was the importance of 'Padhant'- on how to have the lyrical phrases rendered with clarity, emphasis on the right parts and in a kind of musical tone. Participants got to try out 'Padhant' of some really tongue-twisting 'bols'!
NUANCES OF KATHAK
Day 5 was devoted to the most graceful, soft and delicate parts of Kathak - Gat Nikas and Thumri. The Krishna Bansuri Gat that Guru Parwati taught included several types of graceful 'chaals'. To a Kathak enthusiast who has always been mesmerized by the beauty and elegance of Gat Nikas, this was a major learning treat. Guru made so many nuances clear with technical details - ways to move, shift and keep weight on certain parts of feet, the feel with which to lift the leg, though imbibing these might take a long time. She took the Thumri by Bindadin Maharaj, "Aawat Shyam" , which most participants were familiar with, to explain how one can elaborate the same line of 'sahitya' (text) in several artist ways, considering different perspectives giving technical details on, the body poise, the kind of 'Mukh Vilas', the kind of smile, the mood, the nature of divine as well as mortal characters while touching upon once again many nuances related to some 'chaals' and movements!