Ashim Bandhu Bhattacharya is a name to reckon with in the field of Kathak in Kolkata. Apractitioner of the dance form for the last four decades, which included performing at various prestigious platforms within and outside the country, Ashim Bandhu is adept at both the Lucknow and Jaipur gharana of Kathak. He has honed his skills from Pandit Ram Gopal Mishra, Pandit Vijay Shankar and also Pandit Birju Maharaj.
Recently, he performed at the annual Uday Shankar Festival in Kolkata. The performance “Parikrama — A Journey of Life Through Dance”, showcased different journeys —mandir parikrama, taal chakra parikrama, leela prasang parikrama, sringar rasa parikrama and ananda parikrama.
In an interview, Ashim Bandhu talks about the Kathak scene in Kolkata, his life in the dance form and more.
He feels, “The Kathak scene in Kolkata has reached a peak as dancers no longer present only the learnt material. Choreographers and teachers have dedicated themselves to the development and popularisation of the art form.” Excerpts:
Do you come from a background of performing arts?
I feel I was born to practise Kathak. Kathak comes to me spontaneously. It is very dynamic. My mother was a classical vocalist.
What would you call your high points as a Kathaka?
As a practitioner of this art form for the past 42 years, from being a student to a performer to a teacher and a choreographer, I have had many highs and lows. As a student, I got the National Scholarship from the Human Resource Development, Government of India, and secured the first place in the Doverlane Music Conference and the State Akademi, all three in the same year — that was the first high point of my career. As a performer, I got the chance to represent my country abroad and also got the chance to learn and perform under some great gurus and choreographers. In this long journey, I have played different roles in my life through dance and that has been my greatest joy.
As a performing artiste and a teacher, how have you tried to take the genre forward?
Only experimentations and innovations cannot take the dance form forward. What is needed is the depth of understanding of the student and the audience. There has to be growth from within for which both the teacher and the performer would have to reach out and touch the rasikas.I always try to inspire the next generation to learn the nuances and intricacies of the art form and I also give our country new promising students for the promotion and propagation of Kathak. The next generation is very dedicated and hard working. As for me, my salvation is through dance. My only aim is to spend my entire life with dance.
What changes have Kathak undergone over the years? Kathak has undergone a lot of changes but over the years, there has been change in the aesthetic values and improvisation while at the same time keeping the essence of the traditional art form intact. With the advent of time, it is necessary to change. Otherwise, the art form does not get to explore much and the search stops.
What do you think about solo and group dancing in Kathak? Do you find one more interesting than the other?
Both the aspects are very interesting in different ways. When I perform solo, I always maintain the repertoire and authenticity of the art form but while doing group compositions, I generally give importance to the innovative aspects so that I can explore different ideas.
