For artists bound by tradition, innovation in craft is a constantly evolving process. To watch the Kathak doyen and Sangeet Natak Akademi awardee, Saswati Sen (film aficionados might recall the mesmerising dance sequence in Satyajit Ray’s film, Shatranj ke Khilari, where Sen performed “Kanha main tose haari” sung by her guru, Pandit Birju Maharaj), display her craft at the Satyajit Ray Auditorium at ICCR on the occasion of Shraddhyanjali-2024 presented by Nrityangan Kathak Kendra was a refreshing experience. Sen’s deft knowledge of abhinaya, combined with intricate footwork, drew the audience into her creative space as she punctuated her recital with anecdotes from her training years under Maharaj.
An authority in the Lucknow Gharana, which specialises in the blend of and balance between expressionistic stylisations and footwork, Sen constantly makes a strong case for exploring the open-endedness of Kathak. Narrating the lyrics of the ghazal, “Jo chahate ho so kehte ho/ chup rehne ki lazzat kya jano”, she tapped at the romantic potential of the composition, elucidating its meaning for the audience, before breaking into performance. Aided by live music, Sen mesmerised with her rhythmic strength, powerful chakkars and layakari, simultaneously chanting the bols that appealed to the audience.
Sen’s dexterity in Kathak was strongly matched by Ratikant Mohapatra in Odissi, who delivered a solo performance of the Odia abhinaya, “Dinabandhu Ehi Ali Sri Chhamure”. A devotional poem by Banamali Das of the Vaishnavite tradition, “Dinabandhu” allowed Mohapatra to etch out his insightful interpretation of a composition choreographed by his father and Odissi legend, Kelucharan Mohapatra. Simple and direct with minimal self-indulgent flourishes, Mohapatra used gestures to depict the eternal longing for the divine grace of Lord Jagannath.
The two exponents’ collaborative performance, “Sri Ram Vandana” (picture), proved their dexterity in their respective classical genres. The Odissi-Kathak jugalbandi described Rama in all his virtues. The two-day event held in Gyan Manch and ICCR saw other young artists deliver remarkable performances across a range of classical styles.
