Preparing for the stage

Tarang 2015 by Aakruthi Kathak Kendra is conceptualised as a platform for students to hone their stage performance skills.

April 30, 2015 08:21 pm | Updated 08:21 pm IST

Artistes on stage.

Artistes on stage.

The amphitheatre at Saptaparni in Banjara Hills came alive last Friday when 50 students aged between five and 50 years of Aakruthi Kathak Kendra participated in Tarang 2015.

As is the tradition, the day’s proceedings began with an invocation to Lord Ganesha. Eight students who were just six months old in the institute took part in the Pratham Sumir Sri Ganesh set in raag Charukesi. This was followed by a Guru Vandana by another set of first timers.

Goddess Saraswathi was remembered in Kumari Urvaja Priyadarshini’s composition. The nritta was a descriptive and devotional hymn. As in every event, the first timers, who don’t have stage fear, are keen to spot their families in the audience and sometimes lose their rhythm. The dancers then looked at their colleagues to get back into the groove.

Lord Krishna is part and parcel of every dance show. Rakesh Pathak’s composition Radhe Govind in raag Piloo memerised the audience. There was thunderous applause to the tukda ladi . It was time for another presentation to Goddess Saraswathi, in Rakesh Pathak’s composition, which was interspersed with some intricate footwork through Paran and Chalan . Seated with the orchestra, Guru Mangala was seen giving last minute advice on stage use to students who were a mixture of the young and old.

Coming up next, the dancers paid respects to the five elements of existence in Pandit Ravi Shankar’s composition Bhumi Mangalam . Mrinalini and Rakhi held the audience spellbound in tukra and gath . As the evening progressed, dance items with intricate footwork were presented in the Taraanas. Pandit Birju Maharaj s composition Varnat Shyam Sundar set in raag Maalkaus which was followed by Paran stole everyone’s heart. Taraana composition is the hardest in Kathak. It needs a clear grip over everything from foot work, beat theory, circles to tukda, paran etc. It is usually accompanied by the tabla and can be performed to any raag. Because of its fast pace and rhythm it enchants the audience.

This was followed by another stalwart Ustad Ali Akbar Khan’s composition in raag Bhoopali. The lyrical movement, sparkling footwork and agile pirouettes that visually interpret the melodic phrase of Taraana were all visible in this piece. The gurus being the disciple of Pandit Birju Maharaj, most of the day’s events compositions were by him. In Dekhori na mane Shyaam set in Raag Des, the dancers depicted the playful and fun-filled experiences of the gopis with Krishna thus bringing out the abhinaya . Taranas in Raag Darbari and Raag Nat Bhairavi composed by Pandits Birju Maharaj and Ravi Shankar brought out the delicate and intricate footwork, and expressions through the flick of a wrist and a turn of the head.

The annual Tarang is like a school event where everyone is encouraged to take part. The gurus believe that this will drive away the stage fear and work on the shortcomings of the learners while performing to live orchestra. Kumari Urvaja Priyadarshini and Annie on the vocals, Naveen Kumar on the sitar, Uday Kumar on the tabla and Ramchandra on the flute lent able support to the dancers. For the first time as an experiment, the gurus handed the Padanths to the students which they dealt with ease. Nalini and Dishna, mother-daughter combo, also performed on the same stage.

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