Monday,
February 24, 2003, Chandigarh, India
EARLIER
STORIES
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February 23, 2003
Pandit Jasraj mesmerises audience
Patialvis witness fashion show
Patiala
XI beat Rest of India by 93 runs
Quila
Mubarak: Celebration of Patiala’s cultural heritage
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February 22, 2003
‘Ghasi Ram Kotwal’
visits Patiala
Dedicated to Kalpana
Heritage
cricket tie today
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February 20, 2003
Jagjit,
Hans enthral audience
Works of
contemporary artists on display
Wichhre Pani
— music, songs
score over portrayal
Patiala to have
Urdu academy
A
tribute to Polo Tigers
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February 19, 2003
Ustad Vilayat Khan weaves magic
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February 17, 2003
Sonal Mansingh
casts a spell
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February 16, 2003
Dying
art forms liven up fest
CM for Taj Hotel in Patiala |
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February 15, 2003
Patiala
heritage fest opens |
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February 14, 2003
Punjabi
ambience for Crafts Mela
Tent
city coming up
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February 13, 2003
Maharaja’s
dream forgotten
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February 9, 2003
Heritage
Festival to put Patiala on tourist map |
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P
A T I A L A H E R I T A G
E W E E K |
‘Ghungroos’ cast
magic spell on audience
Sukant Deepak
Patiala, February 23
Instrumental in giving a new dimension to kathak by experimenting with its
techniques in the application of dance-dramas, Brij Mohan Nath Mishra or Pt
Birju Maharaj, as he is popularly known, left the audience awestruck as he
introduced them to several layers of kathak with magnificent improvisation.
Pt Birju Maharaj being felicitated during the Heritage Festival in Patiala on Saturday.
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Belonging to the famous Kalka-Bindadin Gharana of Lucknow, Pt Birju
Maharaj, a recipient of the country’s second highest civilian award Padma
Vibhushan, explored the harmony of both male and female essence in an
individual and the recognition of both in one through the composition
designed by him and enacted by his pupils.
Mesmerising the audience by his solo performance “Nritya”, the
master, who is also expert choreographer, brought forth the various
dimensions of “sur” and explored how the various rhythmic patters
created by the unity of music and gestures bring to life different meanings
in the same composition. His magical “ghungroos” conveyed more than what
could have been through vocals in the item composed by him, which
reinterpreted the “jugalbandi” between the tabla and his “ghunghroos”.
Not just a dancer but also an accomplished singer and percussionist, Pt
Birju Maharaj, who received the Sangeet Natak Academy Award at the young age
of 28, proved his vocal prowess by singing a “thumri” written by his
father. Pt Birju Maharaj, pure and intense “blue” composition of little
Krishna, performed solo by him, faithfully represented the various
dimensions and myths associated with Lord Krishna. His exhibition of the
various situations through gestures was excellent theatre.
The evening was not just a dance performance composed by a dream-like
tempera technique where moods were established through fantastic use of
colours in costumes and gestures of the dancers accompanying the master, but
also an introduction to the next generation of dancers trained by him.
His son Deepak Maharaj explored the various improvised dimensions of the
kathak pioneered by his father and introduced the audience to several
scintillating frames in which his wonderful perception of conceptualising
harmony and rhythm lent his performance an almost photographic quality.
Amidst the back drop of the Quila Mubarak, Maharaj’s pupils brought to
life the forgotten “mehfil” amidst poetry of the Mughal era. “Teri
nazar se”, composed by Pt Birju Maharaj, brought alive the aura and
grandeur of that era through an excellent composed dance.
Filling the canvas of the stage with bright colours, different rhythmic
patterns and intelligent contrasting pitch, Pt Birju Maharaj and his pupils,
while exploring the various situations in life, approached the matic fabric
of the items with optimism.
During their moments of dance near the end, the master and his pupils
seemed to be more intimately absolved in the sense of being linked anew with
the universe, as they performed late into the night during the eighth
evening of the Patiala Heritage Festival.
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