My Journey With Kathak By Bageshree Vaze
In April 1998, I first walked into the compound of the National Institute of Kathak dance, popularly known as Kathak Kendra, in New Delhi. The tinkling of ghungroo bells and the distant boom of the Tabla drums greeted me as I walked along the stoned pathway that led to the back of the centre, to the main dancing hall where the living legend of Kathak dance Pandit Birju Maharaj taught his classes. Having received an Ontario Arts Council professional development grant, I came to Delhi to study this North Indian dance form. My training began by observing the students in Kathak Kendra’s 5-year diploma program. Just as writers learn by reading and musicians learn by listening, one of the main tenets of dance training is to learn by watching. On the sprung wooden floor under swirling ceiling fans, men and ladies in their twenties danced in salwar kameez suits, dupattas pinned over their shoulders and waists, and ghungroos tied around their ankles. Maharajji sat on a carpet in front of them, propped against bolster cushions and chewing paan. An ensemble of musicians playing the Tabla, Sarangi, and Harmonium accompanied the class. I watched in fascination at the display of vigorous movements, intricate footwork, and lightning-fast spins on the left heel known as chakkars, the signature features of Kathak dance.
Tarang
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