Journeys in Love
We begin our journey with the Aamad, a Persian word that translates to an ‘entry’. It is the first introduction of spoken rhythmic pattern or bol into a Kathak performance. The onus on the ‘first’ is universal: it is both beginning and guide, trendsetter and tradition. Befittingly so, the dance is set to Raag Yaman.
The performance is named after and performed to the Ghazal, an ancient form of poetic expression. It talks of the pain of loss or separation and the beauty of love inspite of that pain. An ode to the impassable waters of longing, Ghazal is both a sonorous despair and a belligerent hope.
The evocative performance is set to the serene and yet haunting, Raag Yaman Kalyan. Considered a romantic raag, it has, a distinctive quality of tranquility.
Legend says that Lord Shiva, the Hindu God of detachment, is the primordial dancer. Robust and intensely energetic, his Tandav or divine dance, is said to be the source of the cycle of creation, preservation and dissolution. The next performance is set to the pulsating rhythm of the Shiva Tandava Stotram, a hymn in ode of Shiva’s power and beauty. This creates roiling waves of resounding beauty in this stunning example of Hindu devotional poetry.
Tarana exemplifies the choreographic finesse characteristic of the Lucknow Gharana of Kathak. Abstract syllables are swiftly sung while the dancer brings out the essence of the melody and rhythm through complex footwork, intricate geometric shapes, and rapid turns. A technically demanding piece is set in the rarely heard Raag Vachaspati, known for its fluidity.
Angika Choreography by
Padma Bhusan Smt. Kumudini Lakhia
|Amad||Music : Concept by Sanjukta Sinha|
|Ghazal||Music : Originally sung by Farida Khanum|
|Shiv Tandav||Music : Gundecha Brothers|
|Tarana||Music : Praveen Rao|
|Light Design : GyanDev Singh|
|Videography & Editing : Prashant Gohel|