Several years ago at a concert, some school children were sent to welcome the Kathak legend with flowers. He bowed with a smile and asked softly, “Do you know anything about Kathak?” An eight-year-old girl replied, “Yes, this is the dance performed by Pt. Birju Maharaj!” When he met her for the first time, he did not realize that this giant himself was standing in front of him. Laughing she said, “Yes, but he doesn’t dance, he keeps on dancing.”
For the last half century, Kathak has become synonymous with Birju Maharaj, who is affectionately referred to as ‘Maharajji’. She embodied the aesthetics of the dance form, expanding the creative possibilities of the Lucknow gharana. Most importantly, he saw the immense potential of weaving stories of daily life into dance, from the flight of a bird to the movement of a bureaucratic file, from the lunch menu to the summation of mathematics. His style transformed abstract art into everyday moments. It provided imaginative possibilities to the informed dance lover, and allowed the unmarried to find an easy connection. With the passing of the maestro, a rich legacy will continue to inspire innovation.
a perfect balance
Noted dancer Shovana Narayan recalls the lessons she learned from her in the 1960s. “As a teacher he went into painstaking detail while teaching and said that every Eye (look), every movement must express something. He placed great emphasis on finesse and the ability to slow dance with grace.”
She says that she maintained a humble air till the end, and people were deeply impressed by her humility. “In the 60s, he was a young rising star, but he would happily accompany me and my mother to Chandni Chowk (in Delhi) to choose materials for a costume or do my makeup!”
Speaking about her love for music and singing, she recalls, “She had a desire to sing on All India Radio and in 1967, she finally got a chance to sing her grandfather’s thumri and dadra. But two days before the broadcast Already he got a sore throat and he was devastated.We tried everything Respite (the treatment). It turned out to be a beautiful recording and he was overjoyed.”
Birju Maharaj emerged as a prodigy from the Lucknow tradition of the Maharaj brothers, Achan Maharaj, Lachhu Maharaj and Shambhu Maharaj, who were descendants of Kalka Prasad and his brother Bindadin Maharaj. Narayan believes that his greatest contribution to the field of Kathak is a perfect combination of skillful virtue and subtle acting. “He insisted that any performance should be a balance of both. His performance, especially as the mischievous child Bal-Krishna, remains unforgettable.”
Birju Maharaj during a lecture at Parliament House Library, in New Delhi on March 23, 2011. photo Credit: Murthy RV
innovative choreography
In the 50s and 60s, Birju Maharaj explored new dimensions of the form with a series of group choreography and dance-dramas that were rare in the predominantly solo performance structure of Kathak.
Revered guru and choreographer Kumudini Lakhia remembers performing with him in duets and dance-dramas in those early decades. One of the productions at the Indian Center for the Arts in Delhi, ‘Kumar Sambhav’ featured Birju as Kamdev and Kumudini as Rati. It received much critical acclaim. “Till then Kathak was mainly about the solo dancer’s repertoire; We have brought together elements of design, costume and choreography that marked a turning point in the history of the dance form.
Despite the difference in their respective perspectives, Kumudini speaks of how receptive he was to ideas, criticisms and constructive disagreements, which made working with him deeply enriching. “I was not a ‘gharadaar’ artist like him, but it didn’t matter to him. He respected my opinion and was open to suggestions and discussions. He was not only a great dancer and musician, but he was a great There were humans too.”
Eminent dancer-choreographer Aditi Mangaldas recalls her early experience of the creative genius of Ustad. “I met her as a young girl in Ahmedabad. He had a meeting at my house, where he sang and acted throughout the night. The major assembly of industrialists was astonished. so was I. He became a shepherd, a shy maiden, a seducer friend, a jealous lover; Changes in body and expression, all in the blink of an eye. You just sit there, mesmerized in an instant.”
His profusion and versatility are rare and unmatched. Aditi says, “Guru, dancer, choreographer, composer, percussionist, singer; If that was not enough, he wrote poetry and painted. He was luminous, an inner light that shone constantly.”
Today Rajendra Gangani, one of the leading interpreters of the Jaipur gharana of Kathak, says that his bond with Maharajji was beyond differences in their styles. “Living in the same campus of the dance school, I have seen him teach and dance as a child. He used to analyze various aspects of dance beautifully. We will have rich conversations not only about our gharanas, but also about expanding the possibilities of the dance form.”
“His biggest contribution to Kathak is that he became this bridge,” says Rajendra. “He retained the depth of Kathak and interpreted it with heart-warming simplicity.”
Maharajji’s popularity among the audience was also boosted by the iconic songs choreographed by him in films. Satyajit Ray players of shatranj (1977) was his first foray into Hindi cinema with the memorable ‘Kanha Main To Hari’. He won the National Film Award for Best Choreography for ‘Unnai Kaanadhu Naan’ Vishwaroopam Kamal Haasan did it. Over the years, her choreography for Madhuri Dixit dazzled the audience.
Rajendra says his traditional thumri has been reinvented style (genre) was another notable contribution. “Like we have Raagmalika in music, I remember she once choreographed a thumri-malika (sequence of thumri) performed by a group of dancers. It was such a different and new performance!” Recalling another imaginative presentation, he says, “Maharajji envisioned Jugalbandi as the language of acting. He once portrayed Ghungroo as the hero and Tabla as the hero, and Sam The place of Tal Chakra was where they met. ,
Rajendra taught at a Kathak center in Delhi and often had his classes next to Maharajji. “His sense of humor was amazing. I had a lot of male students and for one of his ballets he needed more boys for some roles. He asked me if my students could participate. Then he laughed and said , ‘You are the boy, I am the girl’. (You are the groom’s party, I am the bride.)
Recalling the veteran’s dance philosophy, Rajendra said that this has been his biggest learning – don’t dance, live the dance (Don’t dance, live it).
lasting legacy
Pranshu Chaturlal recalls accompanying him on the tabla on various occasions including his last lecture. “Despite being such a great artist, he still had the wonder and curiosity of childhood; It helped him to explain the most difficult concepts with ease. their innovation third Gave an opportunity to the common man to indulge in the intricacies of rhythm.”
The young tabla player was deeply impressed by Maharajji’s love for learning, “he found new gadgets thrilling and was a versatile genius.”
Banaras Gharana Kathak dancer Vishal Krishna shared his knowledge and insights about dance along the way Maharajji inspired young dancers like himself, shared knowledge and ideas and encouraged them to find their own way. were generous. I remember a particular composition that he choreographed for me last year, where he imagined Shiva joining Krishna in the Holi celebrations. He inspired me to explore my personality in dance. they decorated my dance (She decorated my dance).
The author is a Delhi-based art researcher and author.
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