Vishal Krishna, who performed in the city recently, highlights the uniqueness of the Banaras gharana and how execution of the virile tandava remains its hallmark. UK Banerjee reports
In Kathak, nritta (pure dance) occupies a special place, unlike other classical dances. Compositions are performed with the final step and beat of the composition landing on the sam: the first beat of the time-cycle. Most compositions have bols (rhythmic words) that serve as mnemonics to the composition, whose recitation forms an integral part of the performance. Known as padhant, they make compositions aurally very interesting. Bols can be borrowed from tabla (dha, ge, na, ti, na, ka, dha, na) or from the dance genre (ta, thei, tat, ta ta, tigda, digdig, tram, theyi). Tukras are composed to highlight specific aspects of the dance like gait, for using space: in arcs, corners and diagonals. A popular form is the chakkarwala tukra, showcasing the signature spins of Kathak. Characteristically, they are executed on the heel and differ from ballet’s pirouettes (executed on the toe or ball of the foot). The spins usually manifest themselves at the tukra’s end and in large numbers: five, nine, fifteen, or more, With sequential spins as common features, tukras are most popular with spectators.
All of the above especially occurs in Banaras gharana: developed by Janakiprasad and consolidated by Sukhdev Maharaj. Characterised by the exclusive use of natwari (dance bols), they are different from the tabla and the pakhawaj bols.There are differences in thaat (standing posture) and tatkaar (footwork) with chakkars kept at a minimum, but these are taken from both right and left-hand sides with equal confidence. There is also a greater use of the floor, for instance, in the taking of sam.
Vishal Krishna — all of twenty five —recently performed in the capital, highlighting the very best from Banaras gharana. Grandson of Sukhdev and scion of the Kathak queen Sitara Devi, Vishal went over his Delhi stage like a blitzkrieg: displaying spell-binding chakkars — with filigreed variations built in — brilliant tukras and split-second synchronisation of footwork with same, occasionally with an ateet-anagat quiz. With splendid tabla-support from his elder brother Kushal Krishna, the moon-faced dancer went through his gamut of amad, thaat, toda, tukra: always ending on remarkably well-executed tehais.
After a Shiva-stuti in raga Shankara, he presented two lucknow todas, before moving on to Kishna-raas in raga Khamaj. The love-play on Yamuna banks came alive with an agile Krishna donning many roles of Cupid and milk-maids. After a spell of jugal-bandi (duet) with tabla, and some more todas and tehais, Vishal danced with a beautiful Surdas composition that described the first-ever encounter of Krishna with the radiant Radha whom he has not met earlier and whose initial haughty defIance melts into surrender. This was made into a musical masterpiece — sans tabla — by Madhup Mudgal and Mukul Shivputra in raga Piloo. It was an apposite finale.
Excerpts from inteview with the dancer:
What do you find special in Banaras gharanaIJ
Banaras is considered to be the Shiv-nagari, the city of Shiva, and the supreme god is uniquely known for Shiva-tandavas. Execution of the virile tandava, therefore, remains our hall-mark.
How do you place own ghanrana vis-à-vis the other gharanas of KathakIJ
My grandfather used to say that the gharanas of lucknow, Jaipur, Raigarh and Banaras are all inter-linked and complement each other: much like the Trinity of the Hindu pantheon: Brahma-Vishnu-Maheshwara. But lucknow gharana remains the fountainhead, with even my grandfather having been groomed there and then using his own style.
How come, the noted Odissi danseuse Madhavi Mudgal was announced to be your mentorIJ
Madhavi-ji had originally learnt Kathak and is familiar with its intricacies as well as hurdles. She guided me in my form’s presentation. In our style, after reciting and presenting a padhant, our dancers go back to their casual stance. She has guided me to retain dance-postures as long as I’m on stage.
Your hasta-mudras (hand-gestures) are exceptionally good, in contrast to other Kathak dancers…
This is precisely the point. Madhavi-ji has taught me how one can remain professionally correct all through one’s presence on the proscenium, paying special attention to one’s mudras...
How long has been your internshipIJ
It has been a one-year stint under a fellowship awarded by Sanskrit Foundation and is just over. I had a wonderful time with her and she remained available to me throughout this period.
Your skyward leaps, pirouettes — with legs turned inward from the knees — and occasional sitting postures on the floor seem to be reminiscent of Western ballets…
Yes, I agree. But this was Pandit Sukhdev’s style. I’ve merely revived them!
You also execute many kavitas (poems) of your grandfather…
That’s right. His verse-compositions were Durga parans, Kali parans, Shiva parans, Vishnu parans, Hanumana parans and their ilk. They could be pure or mixed verses — with or without tabla bols and pakhawaj bols — and were getting extinct. I’ve made it my life’s mission to resurrect them and restore their use in my dance.