THE term Kathak means, "narrating a story”. One of the oldest, yet thriving dance forms, Kathak originated in northern India. It was originally performed by communities of people called Kathakaras or story tellers.
These bards, performing in village squares and temple courtyards, mostly specialised in recounting mythological tales from the scriptures, and embellished their recitals with hand gestures and facial expressions. When the patronage shifted from the temples to die royal court, there was a change in the overall emphasis. Since then, through the ages, Kathak has been evolved by several talented dancers. Padmashri Shovana Narayan belongs to this group of immensely talented artistes.
Shovana Narayan and her group perfonned at the Osmani Memorial Hall, Dhaka on January 31. Tire dance recital was presented by High Commission of India, Dhaka and Indian Council for Cultural Relations. Prior to tire event in Dhaka, Narayan and her group performed in Rajshahi and Chittagong.
Narayan's career spanning several decades lias seen her mesmerising audiences worldwide and she has been honoured with several awards. She received the Padmashri Award for excellence and her outstanding contribution to dance in 1992. Among others, the Sangeet Natak Akademi Award by the President of India (1999-2000) is noteworthy. She has written eight books on dance and is also, a visiting lecturer to several universities in India and abroad.
The auditorium ••• as packed with ambassadors of different countries, noted cultural pen onalities, dance exponents and enthusiasts. Narayan’s group th;at included Afsar Mullah, Dharmtudra Gautam, Urmi Mishra and Sangceta Srivaslav, started tire show with a composition tided ()m - ancient verses written by a scribe, Ravan. The composition narrating the cosmic creation and Shiva’s Tandav
(dance of destruction) was enjoyable.
After a brief instrumental prelude, Narayan made her dramatic appearance. Besides dancing, the danscuse seemed to have another talent-• quick wit. As she was speaking to tire audience in between dancing, she was having trouble with the microphone. The poised diva smilingly said to the sound engineer, "Even I don't have any
clue when I'd like to speak; you best keep die mike on throughout die evening."
Greeting the audience in Bangla, Narayan said, "I’m here after 13 years and the warmth I’ve received is still invigorating." A noticeable feature in Kathak is the complex and often fast rhythmic footwork. With the aid of ghungroos, a skilled Kathak dancer can express a lot through the footwork. And that was demonstrated by Narayan as she enacted different sounds of nature — sounds of a horse running for instance. The audience was mesmerised. Narayan also acted out Kamadcv with his bow and arrow, Shiva with his mridanga (rattle drum) and half moon willi the help of seasoned musicians accompanying her. Her stances delineating rolling clouds, thunder and rain were awe-inspiring.
The highlight of the evening was two dance compositions narrating mythical stories --Draupadi's Vastraharan (disrobing) and Buddha's renunciation from Yashodhara's perspective. With intense and subtle facial expressions, eloquent gestures, intricate footwork and tahai (a spinning movement in. one spot at great speed), Narayan became the Pandava queen and the wife of Gautam Buddha. She flawlessly embodied emotions of joy, fear, grief and divine blessing.
Shovana Narayan's perfor-mance was a delight to dance exponents, dancers and enlightening to those who do not have a great understanding of Kathak. The art lovers would certainly appreciate more events like this.