KALA SAMARPAN - AN OFFERING TO THE GURUS - KATHAK

This Review appeared in Priya Laasya in December 2016
Kathak Recital - Mitha Vinay &  Students of the 
Tatvamasi Centre for Performing Arts
     On the 10th of December 2016, in Hyderabad, Mitha Vinay, a proponent of the Lucknow Gharana of Kathak transported us back in time, to an era of Mughal splendour. And though the stage was bare, we lost track of time for about an hour and travelled to the courts of the Nawabs of Oudh (Awadh).

     Kathak as a dance form is derived from the Kathakars, the travelling storytellers and dance-dramatists of ancient India who regaled audiences with religious and mythological tales to the accompaniment music, mime and dance. And though originally very similar to Bharatnatyam, Kathak at some point assumed the form of courtly entertainment through the influence of Persian and Mughal traditions. So, the Kathak of Mitha Vinay’s Lucknow Gharana is recognisable for its Nawabi Nazakat (subtlety and grace), that exemplify elegance and natural expressive techniques of Abhinaya and Natya, the drama of dance.

     Mitha Vinay was the picture of regal graciousness, her backbone erect and perfectly aligned; her bearing, carriage and her pleasing  posture (Anga) were a dance aficionado’s delight. And her flowing movements were marvellously clean and her impeccable and eloquent displays of footwork (Tatkaar) amplified by her anklets (Ghungroos) matched the complex rhythmic cycles of the percussionist; her spins (chakkars), crisp, neat, streamlined, precise and powerful, her Hastak (Hand Movements) graceful and perfectly balanced, and her Chaal (kathak gait), elegant. 

     The first item choreographed by Sri Maulik Shah and Smt. Ishira Parikh was in Raag Saraswati, a beautiful melody that comes to Hindustani music from Carnatic Music and set to Teen Taal (16 beat rhythm cycle) which gives rise to small compositions like Tripalli, Tihaai, Tukdaa, Baant so that the audience could see the technical aspects of Kathak.

      The second item was a Sanskrit Ashtapadi by Sri Jayadeva [Sanskrit scholar] in Raag Shyamala Kauns set to Bhajan Taal, choreographed by Guru Nandini K Mehta, Mitha Vinay’s guru, it is about  Sri Krishna frolicking and playing with gopis in Brindavan garden while Radha awaits him. This Ashtapadi is actually a one-to-one discussion between Raadha and her Sakhi (friend) who explains to Radha Krishna’s delight in romancing with not one or two, but with many Gopikas.
     In Kathak, a Tarana is a technical piece usually 

presented as a final item and so Sargam Tarana in Raag Bhageshree and set to Jhap Taal (10 beats) and choreographed by Smt. Rani Khanam was the last item. In Hindustani classical music a Tarana has certain words and syllables like 'tadeem' 'dheerena' 'yalali' etc. based on Persian and Arabic utterances rendered at Madhya laya (medium pace) or Drut laya (fast pace) to show the beauty of rhythm and various combinations of rhythmic 

phrases, movements and stances.

    Mitha’s theatrical execution throughout the programme was nuanced, her facial expressions easy-to-read and her gestures, stylish. And she demonstrated her skill and technical precision in the exploration of rhythm and movement.

    But the report of the programme would not be complete without mentioning the students of Tatvamasi Centre for Performing Arts, founded by Mitha Vinay to spread the pure joy of movement and preserve and promote the art of Kathak.

     The students of Tatvamasi Centre for Performing Arts actually began the programme with a well choreographed and beautifully executed ballet, an invocation to goddess Saraswati.

Continuing on to a technical piece in Teentaal. The young dancers displayed a good understanding of Kathak as they danced with correctness and grace and displayed their form by doing the tatkaar with a good sense of rhythm, and they danced in the ensemble pieces with understanding and coordination, as one unit, not an easy task, as Kathak steps are much more difficult to do than they look. The students also looked good and were enjoyable to watch, showing  good promise for the future.

     Mitha Vinay has trained as a solo dancer in Bangalore under the guidance of Nandini K Mehta and K. Murali Mohan from Narthan Academy for Dance and Music (NADAM). She continues to be part of the NADAM ensemble and has performed across India and abroad as a soloist and as a part of NADAM ensemble. She holds a “Vidhwath” degree in Kathak, from Karnataka Secondary Education Examination Board, and is an empanelled group artist of ICCR through NADAM and is a graded solo artist for Doordarshan. Mitha has also trained in folk dance forms of India, and due to her passion for dance has explored other genres like Odissi and Latin American dance styles-Salsa and Merengue. She has performed in these styles and in other Indian contemporary productions too and has done numerous corporate shows, workshops and lecture demonstrations on Kathak. Mitha has been teaching Kathak for over ten years. She founded and runs the “Tatvamasi - Centre for Performing Arts” (tat tvam asi” in Sanskrit means “this is you”) in Secunderabad since 2011.