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The King of Kathak: India's Birju Maharaj
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22851 |
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Section : |
THE ARTS
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| Issue
Date : |
1 / 2003 |
1,971 Words |
| Author
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Susmita Ghosh
Susmita Ghosh, currently based in New Delhi, is a freelance
journalist who writes on art and culture. |
From ancient times in India, the mimes, gestures, and facial expressions found in storytelling have been employed to enhance dramatic effect. Gradually, these complex traditions evolved into a type of dance narrative, kathak, whose name derives from a Sanskrit word meaning "the art of storytelling." A highly evolved, classical dance form, kathak conveys the experiences of the ecstatic union of the individual with the absolute through the myths and legends surrounding the Hindu pantheon.
This performance art is not only a cultural treasure but a celebration of life. Kathak is seldom static as it depicts life, with the beauty of expression articulated through intricacies of footwork. A circular movement of every limb is encouraged, and hence the body itself is brought vigorously to life.
Kathak's guiding philosophy calls for an uplifting of the human soul and improvement of the total person through dance. Rhythm is inside all animate and inanimate bodies, but it can never be sensed unless awoken by artistic expressions. Dance is such an art form, Indian philosophy suggests, and the attainment of the state of knowledge about rhythm makes life serene. Such is the teaching of acclaimed kathak maestro Birju Maharaj, India's highest civilian awardee, and the world's prime advocate of this increasingly popular dance form.
An internationally revered figure, Maharaj continues experimenting with the techniques found in his masterpieces of impressionistic choreography and peerless dance dramas. Indeed, many believe him to be the finest choreographer in contemporary India. His bold and intellectual compositions on traditional themes are prsented in Hindustani classical and other regional forms.
A superb percussionist, Maharaj plays nearly all of India's numerous drums with ease and precision. He also plays both traditional and nontraditional instruments such as the israj (a long, 18-stringed, bowed instrument), swar mandal (a 36-stringed, chromatically tuned instrument), sitar, and violin. Drawing on his work as a poet and painter, he has given a new language to kathak. His training repertoire and performances have earned him the status of a living legend in his homeland. Yet Maharaj began by "paying his dues," thus achieving a deep understanding of the spiritual value of his artistic endeavors.
"All I have accomplished has been possible due to God's grace," insists Maharaj. "In fact, I do not think of night as my resting time and day as the working one. I
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