Renowned Kathak exponent Rani Karnaa, 79, passed away after a brief illness at her residence at Kolkata this past Monday. Born in a Sindhi family in Hyderabad, Pakistan, Rani moved to Delhi when her parents left Hyderabad in 1943, and settled in New Delhi. From a very young age of three, she started learning dance and after growing up she received thorough training under Jaipur gharana masters Narayan Prasad, Sunder Prasad and Hiralal. She also studied under Lucknow gharana maestro Birju Maharaj. Earlier she had received training in Manipuri under legendary Guru Amubi Singh. However, it was Kathak form in which she had achieved great proficiency.
In post independence period when Kathak received fillip in New Delhi, Rani Karnaa was a leading dancer. She loved literature and to the lyrics of Surdas and Tagore she integrated the music and dance with high aesthetic sensibilities. Working with scholar S.K.Saxena, professor of Philosophy in Delhi University, she explored the aesthetic aspects of Kathak in terms ‘ang’, body postures and poetry. Picking up the exquisite aspects of Jaipur gharana and Lucknow gharana, she blended them in artistic manner. Her performances within India and abroad received critical appreciation.
Learning Odissi
After marriage she moved to Bhubaneswar. There she came in close contact with Guru Kelucharan Mahapatra and studied Odissi from 1966 till 1985. She received proficiency in Odissi form also, but her first love was Kathak. She moved to Kolkata when her husband was transferred there in 1973. She established Sanskritiki Shreyaskar institution at Jodhpur Park for imparting training in Kathak. She also started the dance department in Calcutta School of Music and worked as its director till 1978. With a large number of disciples, she choreographed several group numbers in Kathak. Her presentations of Navarasamalika, Viraha Milan Raas, Anandadhara, Pujarin, Satrang, Navarang, Surya, Indradhanush and others stood out for intricate footwork, lyrics, music, imaginative choreography and polished treatment.
Like her celebrated contemporaries, she was sent abroad to the UK, Russia and European countries by the Government of India and Indian Council for Cultural Relations. For her outstanding contribution in Kathak she received Sangeet Natak Akademi award in the year 1966. She also received award from Akhil Bharatiya Sindhi Boli and Sahitya Sabha in 1998. Besides several other honours she received civil honour of Padma Shri in 2014.
As a teacher she was a strict disciplinarian. She insisted on maintaining high aesthetic standards of Kathak. There was an appropriate poise in her execution of Kathak. She did not approve of too much speed and bravado. The gradual unfolding of the Kathak form was her hall mark. Among her students, Vikram Iyengar has received sound training in Kathak. He has extended his contemporary work in Kathak based upon training he has received from Rani Karnaa. Today he has won acclaim in contemporary dance. Other disciples of Rani Karnaa like Sohini Debnath are also known for their experimental work.
During my tenure as a Professor and Head of Dance Department at Rabindra Bharati University in Kolkata from 1980 onwards, I came in close contact with her and her work. Erudite and having sound knowledge of other dance forms besides Kathak, our conversations often centered round the way Kathak was presented in a solo format. Kathak exponents in a solo recital dance select a particular tala and perform various intra forms like tode tukde, amad parans, kavits et al. I used to argue that in presenting in this manner with a dancer reciting mnemonic syllables the form often looked fractured .She would not agree and explained that a dancer performing in one select tala, explores various elements creating beauty and would give examples often demonstrating. It was always a pleasure to interact with her.
Her legacy will be carried forward hopefully by her disciples. She will always be remembered for her distinct Kathak and emphasis on aesthetics. She is survived by her daughter-in law and a granddaughter.
