In Search: the Journey of Ruhaniyat, was an extraordinary thematic Kathak presentation around the Sufi thought of passionate love with the divine. It was imaginatively conceived and sensitively performed with intense involvement by Rani Khanam, the renowned Kathak dancer choreographer and founder of the Aamad Dance Centre, that presented it last week.

A rich amalgamation of dance, music and poetry (Sufi/Bhakti verses), the powerful production rekindled the nearly lost Ganga-Jamuni Tehzeeb of our synchronic cultural inheritance.

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Underlining the fact that the whole universe follows the rhythm of nature, where every atom is constantly dancing at its own pace, Rani opened with the Persian poem “Nami danam…” that said “I am fortunate that I’m dancing for my beloved and His love is making me dance in front of Him…”, preceded with a jubilant Upaj of crisp footwork.

The poem, tuned to the pathos of raga Todi, brought in the analogy of the Parwana that burns itself in the flames of a candle because it loves the flame. The dancer wove in the minimal but exquisite technical aspect of Kathak, enhancing her passionate love and devotion for her divine beloved.

The next piece was a Dadra-like composition “Kholo ji Kiwadiya Maharaja Moinuddin…”, composed in the melancholy of raga Bageshri and rendered in a Qawali like treatment, bringing in a devotional fervour to the dance as an offering at the shrine (Durgah) of Khwaja Moinuddin Chishti of Ajmer Sharif.

After a long, long time one saw the impromptu improvisation of the Kathak-Bhava, in the involved emotional expression of Rani in lines like, “Bhes bana kar Jogan wala…(I am wandering like a Jogan in search of you…)” interpreted in umpteen ways, letting the vocalists repeat the line time and again.

Rani concluded her incredible search for Ruhaniyat, or spirituality, with a Rang and Hori on a Sufi composition of Bulleh Shah “Hori khelungi main kahkar Bismillah…”, preceded with couplets of Kabir “Awwal Allah Noor upaya….Ek noor se sab jag upja…”, where there is no discrimination of caste and creed, because all humans are born of the same divine energy.

Composed in the compassionate notes of Kirwani, the concluding piece “Saheb hai Rangrez, chunar mori rang dari…” took the evening to its climax, where Rani danced as if in a trance, reaching the ultimate bliss. No wonder she received a standing ovation by the mesmerised audiences at the Habitat’s Stein auditorium, packed to capacity.

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Drishtikon Home Studio Baithak

The Aditi Mangaldas Dance Company, Drishtikon Foundation, is known for its innovative approach and original works, presenting Kathak and contemporary dance based on Kathak in remarkable ways.

The company has opened out its studio space in Sainik Farms, to a wider audience with the initiative of organising baithaks and workshops. Drishtikon Home Studio Baithak is conceived with the idea of inviting young dancers and musicians to showcase their artistry in an intimate home-studio atmosphere.

The third edition of Home-Studio Baithak, curated by Aditi Mangaldas, showcased Kathak solo by Sunny Shishodiya and a contemporary duet by Deepak Kurki Shivaswamy and Manju Sharma.

Sunny opened with an invocatory Dhrupad “Mahadev Shiv Shambho…” and showcased his technical virtuosity in the 12-beats cycle of Chautal before offering the choicest compositions of his Guru Pt Birju Maharaj in Teentala, like the Chhand omitting the first beat, the Paran, the Paran Amad “Dhatak Thunga…” with stress on “Dha” and the Tipalli paran of Pt Durga Lal that had different rhythmic patterns.

The chiseled dancer also impressed with his extraordinary command over rhythm during the crisp foot-work, the special composition with Ghungroo, Manjira and Pakhawaj mnemonics and the Paramelu, before demonstrating the delicate grace of Lucknow Gharana in Gat-Nikas.

Trance/It, the contemporary piece choreographed by Deepak Kurki Shivaswamy and performed as a duet by Deepak himself and Manju Sharma, treated the body as a “map of the consciousness” and left the audience awe-struck with controlled movements of their bodies articulating specific parts with ritualistic fervour.

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Annual Day of Ganesa Natyalaya

Saroja Vaidyanathan, the Padma-Bhushan awardee and founder president of Ganesa Natyalaya, has not only groomed generations of Bharatanatyam dancers and Carnatic musicians as a dedicated Guru, but has also encouraged like-minded people dedicated to the promotion and propagation of our traditional arts, by honouring them with Shreshtha Kala Pracharak Award.

This year’s awardees, Guru Yamini Krishnamurthy, Natyacharyas V P Dhananjayan and Shanta Dhananjayan, Guru Bhanumathi, Guru Radha Sridhar and B R Vikram Kumar, were honoured on the occasion of the 44th Annual Day celebrations of the prestigious institution.

It was a delight to watch a large number of well-trained students perform on this occasion well-choreographed numbers, from the opening Ganesh Pancharatna Stotram, Alarippu and Varnam to the concluding Thillana with perfect Angashuddha and synchronisation that left the audience enthralled at the Tamil Sangam hall.