Birju Maharaj's recent visit to Chennai culminated in a much-awaited Hindustani vocal recital that took place here.
The first-ever such programme by the Kathak maestro in the city, the concert showcased his warmth and charisma, with eager rasikas swelling as the evening progressed. In her introduction, his prime disciple, Saswati Sen, described the beginnings of Kathak that began as a story telling tradition in village temples. Evolving over the centuries, the dance tradition grew rhythm oriented. Birju Maharaj represents the seventh generation of great masters, his immediate ancestors, father Acchan Maharaj and two uncles Shambhu and Lachu Maharaj being revered names in the field.
Birju himself is famous for his all-round genius encompassing mastery over Kathak, choreography, percussion, vocal, poetry and composition.
With his vocal repertoire spanning khayal, tumri, dadra, tappa, bhajan, holi and ghazal, the accent that evening was on tumri, particularly those composed by grandfather Bindadin Maharaj, followed by ghazals on listeners' request.
Birju Maharaj explained that he had just returned from Tirupati with ‘Govinda, Govinda' ringing in his ears and began with this prayerful chant, picking out the notes on the harmonium, even as the melodious strains of sitar swept into a prelude to ‘Ek Anek Roop,' dedicated to the Lord of the Seven Hills. ‘Hato Chedo' was complemented by a lively tabla interlude in conclusion.
Lyrically rich
In the bandish ‘Kahe Ko' rhythmic variations came into play, sahitya flowing in a cascade that promptly conjured up visions of the maestro's inimitable footwork along the lines of his self-confessed constant attunement of inner self to dance. The next Bindadin composition ‘Jhoola' contained lyrical richness in its elaborate description of Radha and Krishna on a swing. Everything around them gently swings by trees, flowers, their jewels, garments fluttering in the breeze. Dark Krishna and fair Radha together appear as lightning in a cloud, as the first raindrops fall and peacocks begin dancing, the lilt of raag Desh enshrining this beautiful scene. Kathak rhythms surfaced in all their darbar grandeur as bols and sahitya alternated in the raag Hindol (taal dhamal) piece.
Maharaj's valuable contribution to the exquisite choreography in the blockbuster ‘Devdas' is widely known. Lesser known is the fact that the composition ‘Kahe Ched' (Sohni and Vasant based) sung by Kavitha Krishnamurthy is a Bindadin composition taught by Maharaj. The poignant lines of the tumri gained special sheen in the virtuoso's rendition, illustrated by Saswati Sen's spontaneous abhinaya.
Then came the eagerly anticipated bonanza – Birju Maharaj's Kathak demonstration illuminating fascinating concepts. Joyous footwork defined the beat as hands traced delicate motifs, all with the supreme grace of the consummate artist who lives and breathes his art every second. Speaking about the laya inherent in prakriti (creation), the artist mused on rhythm in our daily actions and in Nature ‘the flutter of birds' wings, the gait of an elephant and went on to bring to life a magical representation of clouds, lightning and peacocks dancing.
As he shared nuggets of invaluable experience gained over a lifetime dating back to an age and ambience lost forever to the present generation, what came across was the maestro's charm and unique communication wavelength. With each composition preceded by a personal anecdote, it was a precious string of moments and experiences to treasure for all those fortunate to have been present.
Utpal Ghoshal (tabla), Romen Deka (vocal support) and Jayant Banerjee (sitar) served up generous portions of melodic and percussive fare.
