Oct 14, 2015
Guru Mohanraoji Kallianpurkar
Birth Centenary Year
1913 - 2013
Mohanraoji
A Celebrated dancer, A Generous Guru, A Complete Artist a true 'Kathak'.
Left his education to pursue Kathak dance. An ardent devotee of his Gurus, who was trained extensively
in both Lucknow and Jaipur Gharana, under Pt. Acchan
Maharaj, Pt. Shambhu Maharaj and Pt. Sunderprasadji.
An unassuming humble person, with wealth of knowledge in Dance, music and literature.
An erudite scholar, who formed a terminology and extensive vocabulary for Kathak dance.
An extremely traditional mind yet with a conviction to formalise and standardise training in Kathak dance...
A very well read, learned man who could write eloquently, both in English and Hindi.
A visionary who was way ahead of his times in his ideas, concepts and compositions.
A prolific composer, with an uncanny sense of laya and taal, who had a vast knowledge of Tabla, Sitar, Vocal..
A Master in Bhav paksha, who showed rare sensitivity and elaboration in the portrayal of his thumris and bhajans.
A fellow of Sangeet Natak Akademi, a recipient of Karnataka State Government Award and President's Award.
Tribute
Legendary Guru Pt. Mohanraoji Kallianpurkar
Birth centenary year
1913 - 2013
Mohanraoji
A Celebrated dancer, A Generous Guru, A Complete Artist a true 'Kathak'.
Left his education to pursue Kathak dance. An ardent devotee of his Gurus, who was trained extensively
in both Lucknow and Jaipur Gharana, under Pt. Acchan
Maharaj, Pt. Shambhu Maharaj and Pt. Sunderprasadji.
An unassuming humble person, with wealth of knowledge in Dance, music and literature.
An erudite scholar, who formed a terminology and extensive vocabulary for Kathak dance.
An extremely traditional mind yet with a conviction to formalise and standardise training in Kathak dance...
A very well read, learned man who could write eloquently, both in English and Hindi.
A visionary who was way ahead of his times in his ideas, concepts and compositions.
A prolific composer, with an uncanny sense of laya and taal, who had a vast knowledge of Tabla, Sitar, Vocal..
A Master in Bhav paksha, who showed rare sensitivity and elaboration in the portrayal of his thumris and bhajans.
A fellow of Sangeet Natak Akademi, a recipient of Karnataka State Government Award and President's Award.
Tribute
Legendary Guru Pt. Mohanraoji Kallianpurkar
Birth centenary year
1913 - 2013
01
Articles by Pt. Mohanrao Kallianpurkar
Guru Bindadin Maharaj : Gauravashtak 02
Guru Sundar Prasdji : Aarti 03
gau$ pM.sauMdr p`saad jaI 04
Guru Pt. Shambhu Maharaj 09
Dance Seminar : 1958, Sangeet Natak Akademi 15
The Technique Of Kathak : Marg 1959 20
H$WH$ H$s ebr 24
Syllabus: Bhatkhande University of Music, Lucknow 29
nanam Ama {~aOy _hmamO 32
Rohini As I Know Her 36
Indian Classical Dance : A Book Review 39
Traditions Of Indian Classical Dance: A Book Review 41
Chintan 43
Articles about Pt. Mohanrao Kalyanpurkar
n. _mohZamdOr H$`mUnwaH$a - OrdZr VWm H$m` Rohini Bhate 46
PmoH$m| go CS> aho h -`mXm| Ho$ no Padma Sharma 50
_mohZamd H$`mUnwaH$a `mXm| Ho$ PamoIo _| Purnima Pande 52
Mentor And Friend - Not Guru. Uttara Asha Coorlawala 55
eVe: Um_ Pranati Pratap 57
A Tribute To My Guruji Bhagyashree Oke 59
_mPo XmXmJw$ Shama Bhate 62
Kathak Utsav 2003 Dr. Sunil Kothari 65
Thumri's Genesis In Kathak Dance Mohan Nadkarni 67
Remembering Mohanrao Master Saheb Susheela Misra 71
n. _mohZamd H$`mUnyH$a Rohini Bhate 74
01
Articles by Pt. Mohanrao Kallianpurkar
Guru Bindadin Maharaj : Gauravashtak 02
Guru Sundar Prasdji : Aarti 03
gau$ pM.sauMdr p`saad jaI 04
Guru Pt. Shambhu Maharaj 09
Dance Seminar : 1958, Sangeet Natak Akademi 15
The Technique Of Kathak : Marg 1959 20
H$WH$ H$s ebr 24
Syllabus: Bhatkhande University of Music, Lucknow 29
nanam Ama {~aOy _hmamO 32
Rohini As I Know Her 36
Indian Classical Dance : A Book Review 39
Traditions Of Indian Classical Dance: A Book Review 41
Chintan 43
Articles about Pt. Mohanrao Kalyanpurkar
n. _mohZamdOr H$`mUnwaH$a - OrdZr VWm H$m` Rohini Bhate 46
PmoH$m| go CS> aho h -`mXm| Ho$ no Padma Sharma 50
_mohZamd H$`mUnwaH$a `mXm| Ho$ PamoIo _| Purnima Pande 52
Mentor And Friend - Not Guru. Uttara Asha Coorlawala 55
eVe: Um_ Pranati Pratap 57
A Tribute To My Guruji Bhagyashree Oke 59
_mPo XmXmJw$ Shama Bhate 62
Kathak Utsav 2003 Dr. Sunil Kothari 65
Thumri's Genesis In Kathak Dance Mohan Nadkarni 67
Remembering Mohanrao Master Saheb Susheela Misra 71
n. _mohZamd H$`mUnyH$a Rohini Bhate 74
_hmamO {~XmXrZ
JmadmQ>H$
03
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_hmamO {~XmXrZ
JmadmQ>H$
03
Jw$ gwXa gmX Or
AmaVr
Bir
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p
ku.jayakumaarI gau$ jayalaala kI pu~I qaIM ]nako pu~ qao Baava qaa jaao Ant samaya tk banaa rha
pM.ramagaaopala ijanaka kuC vaYaao-M pUva- klak%ta maoM inaQana hao `sana\ 1926 30 maoM rayagaZ, ko raja cakQarisaMh ko drbaar kI gayaa gau$ jaI ko CaoTo Baa ka naama qaa pM.maalaU jaI jaao sana ek GaTnaa sao gau$jaI ko jaIvana maoM ek icarsmarNaIya maaoD, \ 193035 maoM iksaI samaya baMba sao Acaanak laapta hao gae Aayaa jaOsaa ik gau$jaI nao batayaa GaTnaa [sa p`kar hO baihna laCmaa ka ivavaah pM.BaUralaala ko saaqa huAa iflma
gau$ jayalaala jaI Apnaa naR%ya kaya-ma AarMBa krnao vaalao qao jagat\ ko dao iva#yaat naR%ya inado-Sak sva. pM. saaohnalaala AaOr
saarMgaI pr lahra Ait ivalaMibat laya maoM qaa gau$jaI tbalao pr sva.pM. hIralaala pM. BaUralaala ko pu~ hOM
saMgait kr rho qao iksaI AsaavaQaanaI sao yaa BaUla sao gau$jaI nao pM. caunnaIlaala ko ek Baa pM. dugaa-p`saad AaOr ek baihna zoka dugauna laya maoM AarMBa ikyaa ivad\vaana risak rajaa saahba qaIM baihna ka ivavaah pM. hnaumaanap`saad jaI ko saaqa huAa kI BaaOMhoM tna gaM AaOr vao jayalaala jaI kI trf doK kr pM. maaohnalaala pM. icarMjaIlaala AaOr gau$ naarayaNap`saad mauskrae gau$ jayalaala jaI kuC xaNa ko AaOr Apmaana BarI jaI pM. hnaumaanap`saad jaI ko pu~ qao pM. kuMdnalaala jaI jaao dRiYT sao Apnao Baa kI trf doKa AMt maoM QaOya- Kaokr ]nhoM ABaI kqak koMd` idllaI maoM gau$ ko pd pr hOM gau$ DaTa tqaa tbalaa ].AjaIma Ka kao donao ka inado-Sa idyaa naarayaNap`saad jaI kI baihna ko pu~ hOM kqak koMd` jayapur Apnao kao Apmaainat AnauBava kr gau$jaI nao ]saI idna rayagaZ, maoM gau$ pM. gaaOrISaMkr pM. sauMdr p`saad jaI ko ivdtIya cacaoro CaoD, idyaa AaOr baMba calao Aae Apnao caacaa dugaa-p`saad jaI Baa hOM ko carNaaoM maoM igar kr fUT fUTkr raonao lagao AaOr ]sa du Kd
pM. hnaumaanap`saad Apnao pirvaar AaOr Baa pM.hirp`saad ko GaTnaa ka ivavarNa saunaanao lagao mahana\ iSaxak evaM naR%ya AaOr
saaqa gaaopalapura sao jayapur calao Aae AaOr ApnaI p%naI ko saMgaIt ko AiQakRt ivad\vaana pM.dugaa-p`saad jaI nao Apnao
AnauraoQa pr pM. caunnaIlaala AaOr ]nako pirvaar kao jayapur BatIjao kao AaSvast ikyaa AaOr p`iSaxaNa ko ilae Apnao pasa
baulaa ilayaa [sa p`kar saBaI Baa [sa prMpragat klaa kI rK ilayaa ]nhaoMnao gau$jaI kao layakarI kI baarIikyaaoM kI
saaQanaa ko ilae saaqa rhnao lagao yauvajana ekdUsaro sao spQaa- iSaxaa dI tqaa kqak ko Anya mah%%vapUNa- AMga batae pM.
krto qao [sa p`kar [sa mahana klaa maoM p`vaINata p`aPt krnao dugaa-p`saad sao hI gau$jaI nao jaait yait ma laya AaOr
ko ilae svasqa vaatavarNa bana jaata naaiyaka Baod tqaa Anya mah%%vapUNa- ivaYayaaoM ka &ana p`aPt
ikyaa gau$jaI ka Apnao caacaa ko p`it baD,a Aadr Baava qaa pM. caunnaIlaala nao mahsaUsa ikyaa ik ]nako dao pu~aoM ko ilae [sa AaOr vao ]nakI p`SaMsaa krto nahIM AGaato qao kha krto qao ik klaa ka vyaapk &ana p`aPt krnaa AavaSyak hO At jaIvana maoM eosaa vyai> nahIM doKa vao na kovala saMgaIt evaM naR%ya ]nhaoMnao Apnao pu~aoM pM. jayalaala AaOr pM.sauMdrp`saad kao ko AiQakRt ivad\vaana qao bailk jyaaoitYa tM~ maM~ Saas~ ]nako maamaa ravatap`saad jaI ko saaqa sana\ 1910 AaOr 1915 ka BaI ]nhoM AsaaQaarNa &ana qaa ]nhaoMnao BaivaYyavaaNaI kI qaI ko baIca iksaI vaYa- maoM laKna} Baojaa vaha ]nhaoMnao laKna} ik gau$jaI naR%ya ivaVa maoM baD,I }caa pr phucaoMgao AaOr ]nhoM Garanao ko iva#yaat idggaja gau$ maharaja ibaMdadIna sao gahna naama tqaa yaSa imalaogaa gau$jaI kBaI kBaI ivanaaod maoM ivaica~ p`iSaxaNa p`aPt ikyaa ijasasao ]nhoM na dRiYT imalaI tqaa naakIsaur sao gau$ dugaa-p`saad kI baaolanao kI nakla ikyaa krto jayapur maoM ]nhaoMnao jaao kuC saIKa qaa ]sao vyaapkta AaOr bala qao rayagaZ, kI GaTnaa sao gau$jaI [tnao mamaa-ht hue qao ik imalaa gau$ jaI ko laKna} jaanao AaOr maharaja ibaMdadIna sao ]nhaoMnao Apnaa naama sauMdrlaala sao badlakr sauMdrp`saad kr p`iSaxaNa p`aPt krnao saMbaMQaI ivavaadaoM sao maOM piricat hU maoro ilayaa yaaina Apnao naama sao laala Sabd hTakr p`saad kr kqana ka AaQaar pM.ravata jaI gau$ AcCna maharaja gau$ idyaa ]nhaoMnao saaocaa ik Apnao gau$ caacaa dugaa-p`saad jaI ko lacCU maharaja evaM laKna} ko pM.sarjaU maharaja jaao p`it ?NaI haonao ka p`dSa-na [saI p`kar sao hao sakta hO maharaja ibaMdadIna ko iSaYya qao d\vaara p`d%t tqya hOM ek
Anya mah%%vapUNa- baat yah hO ik mauJao iSaxaa doto samaya pM. vah samaya Aa gayaa jabaik gau$jaI nao AnauBava ikyaa ik vao
AcCna maharaja nao prMpragat gaMDabaMQana ka inavaa-h nahIM ikyaa rayagaZ, ko p`itiYzt klaakaraoM ka mauk,abalaa krnao ko ilae
@yaaoMik maOM gau$ pM.sauMdrp`saad ka iSaYya qaa AaOr gau$jaI evaM pUrI trh p`iSaixat evaM tOyaar hOM Apnao caacaa evaM gau$ ka
AcCna maharaja gau$Baa qao maOMnao tqya rKo hOM AaOr [sa ivaYaya AaSaIvaa-d p`aPt kr vao rayagaZ, ko ilae rvaanaa hao gae
pr iksaI vaad ivavaad maoM nahIM pD,naa caahta yah sava-ivaidt saMBavat yah sana\ 1931 32 ka samaya qaa gau$ jayalaala jaI
tqya hO ik maharaja ibaMdadIna ko p`it gau$jaI ka baD,a Aadr rayagaZ, kI GaTnaa sao vastut baD,o duKI qao ijasako karNa
05
]stad Alaa]ddIna Ka saMgaIt AkadmaI, Baaopala d\vaara isatMbar
1982 maoM Aayaaoijat kqak p`saMga maoM pizt AalaoK
Eawoya gau$ pM. sauMdrp`saad jaI ka smarNa Aato hI maoro saiya
jaIvana ko 47 vaYaao-M ka jaIvaMt icat` ]Bar Aata hO yah AvaiQa maOMnao
kqak naR%ya kI saovaa maoM ibata
16 jaulaa, 1935 ka idna maoro ilae prma saaOBaagyaSaalaI AaOr
AivasmarNaIya idna qaa, jabaik gau$ jaI nao prMpragat gaMDabaMQana ko
saaqa mauJao Apnao iSaYya ko p maoM svaIkar ikyaa ]sa idna maOMnao prma
saMtaoYa ka AnauBava ikyaa maOMnao AnauBava ikyaa ik AMtt maOMnao vah
pa ilayaa ijasakI mauJao tlaaSa qaI BaTktI rah sao mauJao sahI rah
ka saMQaana imala gayaa maorI daM klaa pr baQaa laala AaOr pIlaa
gaMDa maoro AaOr gau$ jaI ko baIca icarsnaoh AaOr Pyaar ko baMQana ka
p`tIk bana gayaa yah svaIkar krnao maoM mauJao tinak BaI ihcak nahIM
ik Aaja maOM jaao kuC hU AaOr maorI jaao BaI ]plaibQa kqak naR%ya maoM
hO ]saka pUra Eaoya gau$ jaI kaO hO vastut yah saMpUNa- ]plaibQa
gau$ jaI kI AnaukMpa evaM haid-k snaoh ka p`itfla hO
gau$ sauMdr p`saad jaI ka janma sana \ 1868 maoM rajasqaana ko krvaaD,I
gaava maoM huAa ]nako ipta ka naama pM. caunnaIlaala qaa gau$ jaI ko
dao Baa evaM ek baihna qaI baDo, Baa qao iva#yaat gau$
pM.jayalaala jaI jaao baad maoM pM.kait-krama puvaOyaa baihnaaoM AaOr
pM.saaohnalaala jaI tqaa Anya k nat-k nat-ikyaaoM ko gau$ rho
Aaja maOM jaao kuC hU AaOr
maorI jaao BaI ]plaibQa k k naR%ya maoM hO
]saka pUra Eaoya gau$jaIkao hO
vastut yah saMpUNa- ]plaibQa
gau$jaIkI AnaukMpa evaM
haid-k snaoh ka p`itfla hO
qa
gau$ pM. sauMdr p`saad jaI
maaohnarava klyaaNapUrkr
ku.jayakumaarI gau$ jayalaala kI pu~I qaIM ]nako pu~ qao Baava qaa jaao Ant samaya tk banaa rha
pM.ramagaaopala ijanaka kuC vaYaao-M pUva- klak%ta maoM inaQana hao `sana\ 1926 30 maoM rayagaZ, ko raja cakQarisaMh ko drbaar kI gayaa gau$ jaI ko CaoTo Baa ka naama qaa pM.maalaU jaI jaao sana ek GaTnaa sao gau$jaI ko jaIvana maoM ek icarsmarNaIya maaoD, \ 193035 maoM iksaI samaya baMba sao Acaanak laapta hao gae Aayaa jaOsaa ik gau$jaI nao batayaa GaTnaa [sa p`kar hO baihna laCmaa ka ivavaah pM.BaUralaala ko saaqa huAa iflma
gau$ jayalaala jaI Apnaa naR%ya kaya-ma AarMBa krnao vaalao qao jagat\ ko dao iva#yaat naR%ya inado-Sak sva. pM. saaohnalaala AaOr
saarMgaI pr lahra Ait ivalaMibat laya maoM qaa gau$jaI tbalao pr sva.pM. hIralaala pM. BaUralaala ko pu~ hOM
saMgait kr rho qao iksaI AsaavaQaanaI sao yaa BaUla sao gau$jaI nao pM. caunnaIlaala ko ek Baa pM. dugaa-p`saad AaOr ek baihna zoka dugauna laya maoM AarMBa ikyaa ivad\vaana risak rajaa saahba qaIM baihna ka ivavaah pM. hnaumaanap`saad jaI ko saaqa huAa kI BaaOMhoM tna gaM AaOr vao jayalaala jaI kI trf doK kr pM. maaohnalaala pM. icarMjaIlaala AaOr gau$ naarayaNap`saad mauskrae gau$ jayalaala jaI kuC xaNa ko AaOr Apmaana BarI jaI pM. hnaumaanap`saad jaI ko pu~ qao pM. kuMdnalaala jaI jaao dRiYT sao Apnao Baa kI trf doKa AMt maoM QaOya- Kaokr ]nhoM ABaI kqak koMd` idllaI maoM gau$ ko pd pr hOM gau$ DaTa tqaa tbalaa ].AjaIma Ka kao donao ka inado-Sa idyaa naarayaNap`saad jaI kI baihna ko pu~ hOM kqak koMd` jayapur Apnao kao Apmaainat AnauBava kr gau$jaI nao ]saI idna rayagaZ, maoM gau$ pM. gaaOrISaMkr pM. sauMdr p`saad jaI ko ivdtIya cacaoro CaoD, idyaa AaOr baMba calao Aae Apnao caacaa dugaa-p`saad jaI Baa hOM ko carNaaoM maoM igar kr fUT fUTkr raonao lagao AaOr ]sa du Kd
pM. hnaumaanap`saad Apnao pirvaar AaOr Baa pM.hirp`saad ko GaTnaa ka ivavarNa saunaanao lagao mahana\ iSaxak evaM naR%ya AaOr
saaqa gaaopalapura sao jayapur calao Aae AaOr ApnaI p%naI ko saMgaIt ko AiQakRt ivad\vaana pM.dugaa-p`saad jaI nao Apnao
AnauraoQa pr pM. caunnaIlaala AaOr ]nako pirvaar kao jayapur BatIjao kao AaSvast ikyaa AaOr p`iSaxaNa ko ilae Apnao pasa
baulaa ilayaa [sa p`kar saBaI Baa [sa prMpragat klaa kI rK ilayaa ]nhaoMnao gau$jaI kao layakarI kI baarIikyaaoM kI
saaQanaa ko ilae saaqa rhnao lagao yauvajana ekdUsaro sao spQaa- iSaxaa dI tqaa kqak ko Anya mah%%vapUNa- AMga batae pM.
krto qao [sa p`kar [sa mahana klaa maoM p`vaINata p`aPt krnao dugaa-p`saad sao hI gau$jaI nao jaait yait ma laya AaOr
ko ilae svasqa vaatavarNa bana jaata naaiyaka Baod tqaa Anya mah%%vapUNa- ivaYayaaoM ka &ana p`aPt
ikyaa gau$jaI ka Apnao caacaa ko p`it baD,a Aadr Baava qaa pM. caunnaIlaala nao mahsaUsa ikyaa ik ]nako dao pu~aoM ko ilae [sa AaOr vao ]nakI p`SaMsaa krto nahIM AGaato qao kha krto qao ik klaa ka vyaapk &ana p`aPt krnaa AavaSyak hO At jaIvana maoM eosaa vyai> nahIM doKa vao na kovala saMgaIt evaM naR%ya ]nhaoMnao Apnao pu~aoM pM. jayalaala AaOr pM.sauMdrp`saad kao ko AiQakRt ivad\vaana qao bailk jyaaoitYa tM~ maM~ Saas~ ]nako maamaa ravatap`saad jaI ko saaqa sana\ 1910 AaOr 1915 ka BaI ]nhoM AsaaQaarNa &ana qaa ]nhaoMnao BaivaYyavaaNaI kI qaI ko baIca iksaI vaYa- maoM laKna} Baojaa vaha ]nhaoMnao laKna} ik gau$jaI naR%ya ivaVa maoM baD,I }caa pr phucaoMgao AaOr ]nhoM Garanao ko iva#yaat idggaja gau$ maharaja ibaMdadIna sao gahna naama tqaa yaSa imalaogaa gau$jaI kBaI kBaI ivanaaod maoM ivaica~ p`iSaxaNa p`aPt ikyaa ijasasao ]nhoM na dRiYT imalaI tqaa naakIsaur sao gau$ dugaa-p`saad kI baaolanao kI nakla ikyaa krto jayapur maoM ]nhaoMnao jaao kuC saIKa qaa ]sao vyaapkta AaOr bala qao rayagaZ, kI GaTnaa sao gau$jaI [tnao mamaa-ht hue qao ik imalaa gau$ jaI ko laKna} jaanao AaOr maharaja ibaMdadIna sao ]nhaoMnao Apnaa naama sauMdrlaala sao badlakr sauMdrp`saad kr p`iSaxaNa p`aPt krnao saMbaMQaI ivavaadaoM sao maOM piricat hU maoro ilayaa yaaina Apnao naama sao laala Sabd hTakr p`saad kr kqana ka AaQaar pM.ravata jaI gau$ AcCna maharaja gau$ idyaa ]nhaoMnao saaocaa ik Apnao gau$ caacaa dugaa-p`saad jaI ko lacCU maharaja evaM laKna} ko pM.sarjaU maharaja jaao p`it ?NaI haonao ka p`dSa-na [saI p`kar sao hao sakta hO maharaja ibaMdadIna ko iSaYya qao d\vaara p`d%t tqya hOM ek
Anya mah%%vapUNa- baat yah hO ik mauJao iSaxaa doto samaya pM. vah samaya Aa gayaa jabaik gau$jaI nao AnauBava ikyaa ik vao
AcCna maharaja nao prMpragat gaMDabaMQana ka inavaa-h nahIM ikyaa rayagaZ, ko p`itiYzt klaakaraoM ka mauk,abalaa krnao ko ilae
@yaaoMik maOM gau$ pM.sauMdrp`saad ka iSaYya qaa AaOr gau$jaI evaM pUrI trh p`iSaixat evaM tOyaar hOM Apnao caacaa evaM gau$ ka
AcCna maharaja gau$Baa qao maOMnao tqya rKo hOM AaOr [sa ivaYaya AaSaIvaa-d p`aPt kr vao rayagaZ, ko ilae rvaanaa hao gae
pr iksaI vaad ivavaad maoM nahIM pD,naa caahta yah sava-ivaidt saMBavat yah sana\ 1931 32 ka samaya qaa gau$ jayalaala jaI
tqya hO ik maharaja ibaMdadIna ko p`it gau$jaI ka baD,a Aadr rayagaZ, kI GaTnaa sao vastut baD,o duKI qao ijasako karNa
05
]stad Alaa]ddIna Ka saMgaIt AkadmaI, Baaopala d\vaara isatMbar
1982 maoM Aayaaoijat kqak p`saMga maoM pizt AalaoK
Eawoya gau$ pM. sauMdrp`saad jaI ka smarNa Aato hI maoro saiya
jaIvana ko 47 vaYaao-M ka jaIvaMt icat` ]Bar Aata hO yah AvaiQa maOMnao
kqak naR%ya kI saovaa maoM ibata
16 jaulaa, 1935 ka idna maoro ilae prma saaOBaagyaSaalaI AaOr
AivasmarNaIya idna qaa, jabaik gau$ jaI nao prMpragat gaMDabaMQana ko
saaqa mauJao Apnao iSaYya ko p maoM svaIkar ikyaa ]sa idna maOMnao prma
saMtaoYa ka AnauBava ikyaa maOMnao AnauBava ikyaa ik AMtt maOMnao vah
pa ilayaa ijasakI mauJao tlaaSa qaI BaTktI rah sao mauJao sahI rah
ka saMQaana imala gayaa maorI daM klaa pr baQaa laala AaOr pIlaa
gaMDa maoro AaOr gau$ jaI ko baIca icarsnaoh AaOr Pyaar ko baMQana ka
p`tIk bana gayaa yah svaIkar krnao maoM mauJao tinak BaI ihcak nahIM
ik Aaja maOM jaao kuC hU AaOr maorI jaao BaI ]plaibQa kqak naR%ya maoM
hO ]saka pUra Eaoya gau$ jaI kaO hO vastut yah saMpUNa- ]plaibQa
gau$ jaI kI AnaukMpa evaM haid-k snaoh ka p`itfla hO
gau$ sauMdr p`saad jaI ka janma sana \ 1868 maoM rajasqaana ko krvaaD,I
gaava maoM huAa ]nako ipta ka naama pM. caunnaIlaala qaa gau$ jaI ko
dao Baa evaM ek baihna qaI baDo, Baa qao iva#yaat gau$
pM.jayalaala jaI jaao baad maoM pM.kait-krama puvaOyaa baihnaaoM AaOr
pM.saaohnalaala jaI tqaa Anya k nat-k nat-ikyaaoM ko gau$ rho
Aaja maOM jaao kuC hU AaOr
maorI jaao BaI ]plaibQa k k naR%ya maoM hO
]saka pUra Eaoya gau$jaIkao hO
vastut yah saMpUNa- ]plaibQa
gau$jaIkI AnaukMpa evaM
haid-k snaoh ka p`itfla hO
qa
gau$ pM. sauMdr p`saad jaI
maaohnarava klyaaNapUrkr
p`stava rKa gau$jaI p`sanna hue AaOr [sako ilae vao t%kala doK rho qao maorI dRiYT BaI ]nakI Aaor qaI AaOr To/na ko gait
tOyaar hao gae yah saaOBaagya kI baat hO ik saMsqaa ko ilae hmaoM pkD,nao ko saaqa gau$jaI ka Aakar CaoTa haota jaa rha qaa
gaamadovaI xao~ maoM sqaana BaI imala gayaa Aap ivaSvaasa kroM yaa na baMba[- maoM skUla sqaaipt haonao ko kuC maah pUva- gau$jaI ApnaI kroM sqaana pr fnaI-car lagaanao AaOr AavaSyak saaja, laanao ko p%naI kao baMba[- laonao Aae qao yah duBaa-gya hO ik gau$jaI ka ilae maOMnao ek pOsaa BaI Kca- nahIM ikyaa hr vastu yaha tk pairvaairk jaIvana sauKI nahIM qaa jaOsaI ik Apoxaa qaI p%naI ik GauGa$ BaI maoro saMbaMiQayaaoM Wara Anaudana sva$p ide gae ko p`it haid-k p`oma ko baavajaUd ]sako saaqa ivavaad hao hI jaata [sa p`kar sana\ 1937 maoM maharaja ibaMdadIna skUla Aa^f DaMsa qaa baccaaoM ko maamalao maoM BaI [-Svar kI ivaSaoYa dyaa nahIM qaI ek saado samaaraoh ko saaqa AarMBa huAa gau$ lacCU maharaja p`qama baccaI qaI ijasaka janma ivavaah ko k[- vaYaao-M baad huAa ]sa samaya ]pisqat qao AaOr gaRh pUjaa ko pScaat\ ]nhaoMnao maOM gau$jaI bahut p`sanna qao ikMtu yah KuSaI Alpkailak hI qaI tao KolaUgaI ]nhIM sao haorI gau[-yaa pr AiBanaya p`stut ikyaa dao taIna vaYa- kI Aayau maoM ]sa baailaka kao inamaaoinayaa huAa
saMgaIt evaM naR%ya ko k[- p`itiYzt klaakar gau$jaI sao imalanao AaOr saba p`kar kI icaik%saa sauivaQaa ko baavajaUd ]sao bacaayaa
ko ilae Aanao lagao EaI maaQavaisaMh pKavajaI pM.AlakuTkr nahIM jaa saka [sa isqait maoM ]nhoM SaaMt krnaa BaI kizna hao
pKavajaI pM. Kap$ jaI ].Samasau_Ina K,a tbalaa gayaa maharaja ibaMdadIna kI tsvaIr ko saamanao baOzkr KUba raoe
]. AmaIr K,a saahba EaI saaohnalaala EaI gaaOrISaMkr tqaa AaOr Anaunaya p`aqa-naa kI ik iksa pap kI sajaa mauJao imala
jayapur Garanao ko k[- kqak yaha Aato qao [na p`itiYzt rhI hO gau$jaI maharaja ibaMdadIna kI pUjaa p`itidna ikyaa
ivaWanaaoM ko AapsaI ivacaar ivamaSa- sao maOM baD,a laaBaainvat haota krto qao
qaa gau$ jayalaala jaI ek baar kuC idnaaoM tk Apnao Baa[- ko kuC vaYaao-M baad gau$jaI kao ek pu~ huAa ]nakI KuSaI ka saaqa rho AaOr ]nakI pu~I ku.jayakumaarI ko iryaaj,a kao doKnao par nahIM qaa baalak vaastva maoM p`itBaa ka QanaI qaa ka mauJao saaOBaagya imalaa iryaaja, kI gait AaOr [sako ilae maa baabaa baaolanao sao phlao hI vah Japtala ka pUra zoka ide jaa rho samaya sao maOM AaScaya-caikt hao jaata skUla ko baaolanao lagaa qaa dao tIna vaYa- kI Aayau maoM hI vah gau$jaI ko SaaMt vaatavarNa sao gau$jaI navasaja-na ko ilae p`oirt hue [sa pasa baOz jaata jabik gau$jaI Apnao iSaYyaaoM kao iSaxaa dotop`kar gau$ jayalaala jaI ko saaqa hue ivacaar ivamaSa- sao qao yaid iSaYya galatI krta Aqavaa tala caUk jaata tao vah talamaalaa ka janma huAa gaMgaa jamanaI tala i~vaoNaI baalak ApnaI naarajagaI huMkar sao vya> krta yah vaastva maoM AaOr naaiyakamaalaa ]nakI ApnaI inaima-it qaIM ]nhaoMnao svayaM AaScaya-janak qaa vah caarpaca vaYa- kI Aayau maoM tbalaa ijana gataoM kI saRiYT kI vao hOM Basmaasaur maaoihnaI bajaanao lagaa qaa gau$jaI lahra bajaato AaOr jaba Anya tala Aihlyaa ]war kama dhna AaOr maaKnacaaorI ka lahra bajata tao baalak zoka badla dota kailayaa dmana haolaI tqaa d`aopdI vas~hrNa maoro
gau$jaI iksaI karNavaSa baMba[- CaoD,kr Apnao pirvaar ko saaqa K,yaala sao Aaja ijasao baD,I gat kha jaata hO vah gau$jaI
Ahmadabaad calao gae vaha yah baalak AakYa-Na ka koMd` bana kI saRiYT hO skUla maoM Aanaovaalao Anya vyai> qao
gayaa kuC hI mahInaaoM maoM gau$jaI nao kafI Qana kmaayaa AaOr Da^.esa.ena.rataMjankr AaOr maoDma maonaka
AanaMd sao pairvaairk jaIvana ibata rho qao Apnao Svasaur ko Da^.rataMjankr nao maora naR%ya doKkr sauJaava idyaa ik maOM
AnauraoQa pr ]nhaoMnao ApnaI p%naI AaOr pu~ kao gaava Baoja idyaa laKna} isqat maOirsa ka^laoja maoM jaa} ]sa samaya
vaha dudO-va sao ek duGa-Tnaa GaTI pu~ Kot maoM mala %yaaga ko Da^.rataMjankr maOirsa ka^laoja ko ip`Misapla qao maoro saMbaMiQayaaoM nao
ilae gayaa jaha ]sao sap- nao Dsa ilayaa iksaI p`kar kI [sa sauJaava ka samaqa-na ikyaa AaOr mauJao maOirsa ka^laoja jaanao kI
icaik%saa ko pUva- hI vah baalak [sa saMsaar sao cala basaa salaah dI AarMBa maoM gau$jaI mauJao CaoD,nao kao tOyaar nahIM qao
gau$jaI kao Asamaya Qa@ka lagaa AaOr vastut vao Apnaa ikMtu baad maoM kha baoTa maaohna maoro gauWara laKna}
saMtulana hO Kao baOzo ]nhaoMnao baad maoM mauJao bataayaa ik vao gau$ jaanao sao maOM tumhoM kOsao raok sakta hU yaid tuma vaastva maoM jaanaa
maharaja ibaMdadIna ka ica~ CatI sao icapkae idSaahara hao caahto hao tao maorI Anaumait hO tuma baD,o Baagyavaana hao At
kr GaUmaa krto qao gau$jaI ko BatIjao pM.saaohnalaala nao jaba maOM 9 Agast 1939 kao laKna} ko ilae rvaanaa hao gayaa
saunaa tao vao gau$jaI AaOr ]nakI p%naI kao mad`asa lao gae ivada[- kI [sa vaolaa maoM jaba maOMnao gau$jaIo ko carNa Cue tao vao rao
pM.saaohnalaala nao iflma jagat\ maoM AcCa naama kmaayaa qaa AaOr pD,o vah dRSya Aaja BaI maorI AaKaoM ko saamanao hO jabaik
]nako Bavya bagalaa AaOr Aasapasa ko SaaMt vaatavarNa sao gau$jaI vaI.TI.sToSana pr KD,o qao AaOr inasahaya maorI Aaor
07
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]nako Baa kao rayagaZ, CaoD,naa pD,a AaOr jaba ]nhaoMnao Apnao ApnaI ivaSaoYata qaI gaayak ].AmaIr K,a ko jaao saMgaIt
Baa kao saaxaat\ saamanao Aato doKa tao ]nako AanaMd ka inado-Sak qao vaaV saMgaIt saMyaaojana sao baMidSaaoM kao ek ApUva-
izkanaa na rha vaastva maoM yah AanaMdaEaupUNa- punaima-lana qaa nayaa rMga imala jaata qaa maorI dRiYT maoM gau$jaI kI EaoYz saja-
gau$ jayalaala nao ]nhoM galao lagaa ilayaa AaOr xamaa yaacanaa kI naa%mak kRit qaI raqaa kRYNa yaugala naR%ya [samaoM ]nhaoMnao
gau$jaI nao Apnao Baa ka carNa spSa- krto hue kha ip`ya svayaM Bagavaana kRYNa ko $p maoM naR%ya ikyaa AaOr raQaa qaI saIta
Ba`ata jaao BaI huAa vah AcCo ko ilae hI huAa yaid Aap baasaurI pr raga pIlaU maoM ivalaMibat lahra cala rha qaa AaOr ]saI
mauJao Da^Tto nahIM tao mauJao Apnao ivad\vaana caacaa pM.dugaa-p`saad ko saaqa naR%ya AarMBa huAa vah lahra Aaja BaI maoro kanaaoM maoM
sao saIKnao ka Avasar kBaI nahIM imalata rajaasaahba kao BaI gaUja rha hO yah ]%kRYT baMidSa pUNa-t zaz AaOr gat pr
yah jaanakr p`sannata hu ik gau$jaI vaapsa Aa gae AaOr vah AaQaairt qaI [sako pScaat\ gau$jaI nao kBaI iksaI ko saaqa
BaI pM.dugaa-p`saad sao iSaxaa p`aPt kr jaOsaa ik rajaa saahba yaugala naR%ya nahIM ikyaa ]nakI Anya baMidSaaoM maoM hOM ivaiBanna
ka svaBaava qaa ]nhaoMnao ek idna gau$jaI kao Apnao drbaar ko naaiyakaAaoM kI gatoM ijanamaoM AiBasaairka gat kI baD,I
ek bahut p`vaINa tbailae ko ivaQd KD,a kr idyaa AaOr p`SaMsaa hu[- [sa ivaiSaYT gat ko saIKnao ko ilae iva#yaat
[cCa p`kT kI ik gau$jaI p`qama Aamad maoM hI sama pr ]nhoM kqak naR%yaaMganaa maoDma maonaka nao ]nhoM KMDalaa isqat ApnaI
prast kroM yah ek bahut baD,a AadoSa qaa ikMtu gau$jaI nao saMsqaa maoM AamaMi~t ikyaa
[sao iSaraoQaaya- kr ]stad kao maSa dao baar prast kr idyaa yah ]llaoKnaIya hO ik puvaOyaa baihnaaoM ko AnauraoQa pr kaya-ma gau$jaI kI mahana ]plaibQa pr rajaasaahba nao p`sannata p`kT ko AarMBa maoM gaNaoSa stuit AaOr gaNaoSa prNa naacanao ka p`vat-kI AaOr ]nakI BaUir BaUir p`SaMsaa kI gau$jaI kI Anya na gau$jaI nao ikyaa mauJao ABaI tk smarNa hO ik ica~a nao klaa%mak ]plaibQa qaI iksaI tala ivaSaoYa ko ek Aavat-na ]nnaIsa maa~aAaoM kI tala maoM inabaw ek baMidSa kI p`stuit maoM ko saaqa gaulaala maoM pUra ica~ AMikt krnao kI ]nakI xamata safla p`dSa-na ikyaa mauJao svayaM eosao dao raomaaMcakarI p`dSa-na doKnao ka saaOBaagya imalaa
puvaOyaa baihnaaoM ka naR%ya kaya-ma Ainavaaya-t gau$jaI ko hO jabaik gau$jaI nao tInatala maoM sama sao sama tk haqaI
saMixaPt prMpragat kqak naR%ya ko saaqa haota qaa [sa saMbaMQa maoM ka ica~ AMikt ikyaa ivaWana evaM catur rajaa saahba nao ek
saIta baD,o ivanaaod sao batatI hOM ik iksa p`kar gau$jaI Wara baar gau$jaI kao dadra tala maoM haqaI AMikt krnao kI caunaaOtI
galat vyaa#yaa ko pirNaamasva$p ek gat ka inamaa-Na huAa dI ]nhoM AaSaa qaI ik gau$jaI pICo hT jaaegao @yaaoMik C
saIta nao gau$jaI kao prMpragat kqak SaOlaI maoM saaolaao maa~aAaoM maoM haqaI AMikt krnaa p`aya AsaMBava qaa ikMtu
ekakI naR%ya poSa krnao ko ilae manaanaa caaha saIta nao gau$jaI nao caunaaOtI svaIkar kI AaOr dadra kao ivalaMibat laya maoM
gau$jaI sao kha gau$jaI @yaa hmaaro p`aoga`ama maoM Aap saaolaao rKkr haqaI AMikt kr sabakao AaScaya-caikt kr idyaa
nahIM naaca sakto hOM gau$jaI nao saaolaao ka galat Aqa- jaba gau$jaI nao rayagaZ, CaoD,a tba raja caQarisaMh nao ]nakI lagaayaa AaOr kha baoTI ijatnaa saaolaao slaao khao haid-k p`Saist kI AaOr ]nakI ]plaibQayaaoM ko ilae ilaiKt ]tnaa saaolaaoslaao ivalaMibat naaca sakta hU khao tao p`Saist p~ p`dana ikyaa maOMnao gau$jaI ko pasa yah p`Saist ivalaMibat laya maoM gat naacaU saIta nao AnauBava ikyaa ik p~ doKa hO rayagaZ, maoM yaSa p`aPt krnao ko baad gau$jaI sana\ gau$jaI nao Sabd kao galat Aqa- maoM ilayaa hO ikMtu vah yah 1932 33 maoM baMba Aa gae AaOr Apnao caacaa pM.dugaa-p`saad jaananao kao ]%sauk qaI ik gau$jaI @yaa krto hOM ]sanao gau$jaI ko AadoSa pr ]nhaoMnao kuC iSaYyaaoM kao p`iSaxaNa donaa AarMBa kao gat banaanao ko ilae p`oirt ikyaa [sa p`kar SaoYaSaayaI ikyaa ]nakI p`qama iSYyaa qaIM iva#yaat kvaiya~I saraoijanaI ivaYNau gat ka janma huAa jaao Apnao ZMga kI ek hI gat hO naayaDU kI baihna EaImatI saunaailanaIdovaI ]sako baad qaIM
AaScaya- AaOr duK kI baat yah hO ik AcCI baat p`aya dIGa-iva#yaat puvaOyaa baihnaoM saIta ica~a evaM lata puvaOyaa baihnaaoM
jaIvaI nahIM rhtI iksaI galatfhmaI ko karNa gau$jaI ka ko saMpk- sao gau$jaI kI saRjanaa%mak p`itBaa ko ilae AnaukUla
puvaOyaa baihnaaoM sao saMbaMQa ivacCod hao gayaa yah samaya qaa sana\ vaatavarNa inaima-t huAa ]nako sauJaava AaOr kqaavastu ko
1936 ka ]sa samaya maOM gau$jaI sao iSaxaa lao rha qaa ijasa AaQaar pr gau$jaI maMca p`stuit ko ilae sauMdr baMidSaoM banaa doto
samaya maOMnao mahsaUsa ikyaa ik puna maola kI kao[- saMBaavanaa nahIM hO jaao prMpra ko Anau$p haotIM saItahrNa jaTayau vaQa
AaOr gau$jaI BaarI Aaiqa-k kiznaa[- maoM hOM tba maOMnao Eawoya gau$ mauid`ka ko saaqa hnaumaana ka laMkavaaiTka maoM Aagamana
maharaja ibaMdadIna ko naama pr ek saMsqaa sqaaipt krnao ka laMkadhna jaOsao ramaayaNa ko p`saMgaaoM ko p`stutIkrNa kI
p`stava rKa gau$jaI p`sanna hue AaOr [sako ilae vao t%kala doK rho qao maorI dRiYT BaI ]nakI Aaor qaI AaOr To/na ko gait
tOyaar hao gae yah saaOBaagya kI baat hO ik saMsqaa ko ilae hmaoM pkD,nao ko saaqa gau$jaI ka Aakar CaoTa haota jaa rha qaa
gaamadovaI xao~ maoM sqaana BaI imala gayaa Aap ivaSvaasa kroM yaa na baMba[- maoM skUla sqaaipt haonao ko kuC maah pUva- gau$jaI ApnaI kroM sqaana pr fnaI-car lagaanao AaOr AavaSyak saaja, laanao ko p%naI kao baMba[- laonao Aae qao yah duBaa-gya hO ik gau$jaI ka ilae maOMnao ek pOsaa BaI Kca- nahIM ikyaa hr vastu yaha tk pairvaairk jaIvana sauKI nahIM qaa jaOsaI ik Apoxaa qaI p%naI ik GauGa$ BaI maoro saMbaMiQayaaoM Wara Anaudana sva$p ide gae ko p`it haid-k p`oma ko baavajaUd ]sako saaqa ivavaad hao hI jaata [sa p`kar sana\ 1937 maoM maharaja ibaMdadIna skUla Aa^f DaMsa qaa baccaaoM ko maamalao maoM BaI [-Svar kI ivaSaoYa dyaa nahIM qaI ek saado samaaraoh ko saaqa AarMBa huAa gau$ lacCU maharaja p`qama baccaI qaI ijasaka janma ivavaah ko k[- vaYaao-M baad huAa ]sa samaya ]pisqat qao AaOr gaRh pUjaa ko pScaat\ ]nhaoMnao maOM gau$jaI bahut p`sanna qao ikMtu yah KuSaI Alpkailak hI qaI tao KolaUgaI ]nhIM sao haorI gau[-yaa pr AiBanaya p`stut ikyaa dao taIna vaYa- kI Aayau maoM ]sa baailaka kao inamaaoinayaa huAa
saMgaIt evaM naR%ya ko k[- p`itiYzt klaakar gau$jaI sao imalanao AaOr saba p`kar kI icaik%saa sauivaQaa ko baavajaUd ]sao bacaayaa
ko ilae Aanao lagao EaI maaQavaisaMh pKavajaI pM.AlakuTkr nahIM jaa saka [sa isqait maoM ]nhoM SaaMt krnaa BaI kizna hao
pKavajaI pM. Kap$ jaI ].Samasau_Ina K,a tbalaa gayaa maharaja ibaMdadIna kI tsvaIr ko saamanao baOzkr KUba raoe
]. AmaIr K,a saahba EaI saaohnalaala EaI gaaOrISaMkr tqaa AaOr Anaunaya p`aqa-naa kI ik iksa pap kI sajaa mauJao imala
jayapur Garanao ko k[- kqak yaha Aato qao [na p`itiYzt rhI hO gau$jaI maharaja ibaMdadIna kI pUjaa p`itidna ikyaa
ivaWanaaoM ko AapsaI ivacaar ivamaSa- sao maOM baD,a laaBaainvat haota krto qao
qaa gau$ jayalaala jaI ek baar kuC idnaaoM tk Apnao Baa[- ko kuC vaYaao-M baad gau$jaI kao ek pu~ huAa ]nakI KuSaI ka saaqa rho AaOr ]nakI pu~I ku.jayakumaarI ko iryaaj,a kao doKnao par nahIM qaa baalak vaastva maoM p`itBaa ka QanaI qaa ka mauJao saaOBaagya imalaa iryaaja, kI gait AaOr [sako ilae maa baabaa baaolanao sao phlao hI vah Japtala ka pUra zoka ide jaa rho samaya sao maOM AaScaya-caikt hao jaata skUla ko baaolanao lagaa qaa dao tIna vaYa- kI Aayau maoM hI vah gau$jaI ko SaaMt vaatavarNa sao gau$jaI navasaja-na ko ilae p`oirt hue [sa pasa baOz jaata jabik gau$jaI Apnao iSaYyaaoM kao iSaxaa dotop`kar gau$ jayalaala jaI ko saaqa hue ivacaar ivamaSa- sao qao yaid iSaYya galatI krta Aqavaa tala caUk jaata tao vah talamaalaa ka janma huAa gaMgaa jamanaI tala i~vaoNaI baalak ApnaI naarajagaI huMkar sao vya> krta yah vaastva maoM AaOr naaiyakamaalaa ]nakI ApnaI inaima-it qaIM ]nhaoMnao svayaM AaScaya-janak qaa vah caarpaca vaYa- kI Aayau maoM tbalaa ijana gataoM kI saRiYT kI vao hOM Basmaasaur maaoihnaI bajaanao lagaa qaa gau$jaI lahra bajaato AaOr jaba Anya tala Aihlyaa ]war kama dhna AaOr maaKnacaaorI ka lahra bajata tao baalak zoka badla dota kailayaa dmana haolaI tqaa d`aopdI vas~hrNa maoro
gau$jaI iksaI karNavaSa baMba[- CaoD,kr Apnao pirvaar ko saaqa K,yaala sao Aaja ijasao baD,I gat kha jaata hO vah gau$jaI
Ahmadabaad calao gae vaha yah baalak AakYa-Na ka koMd` bana kI saRiYT hO skUla maoM Aanaovaalao Anya vyai> qao
gayaa kuC hI mahInaaoM maoM gau$jaI nao kafI Qana kmaayaa AaOr Da^.esa.ena.rataMjankr AaOr maoDma maonaka
AanaMd sao pairvaairk jaIvana ibata rho qao Apnao Svasaur ko Da^.rataMjankr nao maora naR%ya doKkr sauJaava idyaa ik maOM
AnauraoQa pr ]nhaoMnao ApnaI p%naI AaOr pu~ kao gaava Baoja idyaa laKna} isqat maOirsa ka^laoja maoM jaa} ]sa samaya
vaha dudO-va sao ek duGa-Tnaa GaTI pu~ Kot maoM mala %yaaga ko Da^.rataMjankr maOirsa ka^laoja ko ip`Misapla qao maoro saMbaMiQayaaoM nao
ilae gayaa jaha ]sao sap- nao Dsa ilayaa iksaI p`kar kI [sa sauJaava ka samaqa-na ikyaa AaOr mauJao maOirsa ka^laoja jaanao kI
icaik%saa ko pUva- hI vah baalak [sa saMsaar sao cala basaa salaah dI AarMBa maoM gau$jaI mauJao CaoD,nao kao tOyaar nahIM qao
gau$jaI kao Asamaya Qa@ka lagaa AaOr vastut vao Apnaa ikMtu baad maoM kha baoTa maaohna maoro gauWara laKna}
saMtulana hO Kao baOzo ]nhaoMnao baad maoM mauJao bataayaa ik vao gau$ jaanao sao maOM tumhoM kOsao raok sakta hU yaid tuma vaastva maoM jaanaa
maharaja ibaMdadIna ka ica~ CatI sao icapkae idSaahara hao caahto hao tao maorI Anaumait hO tuma baD,o Baagyavaana hao At
kr GaUmaa krto qao gau$jaI ko BatIjao pM.saaohnalaala nao jaba maOM 9 Agast 1939 kao laKna} ko ilae rvaanaa hao gayaa
saunaa tao vao gau$jaI AaOr ]nakI p%naI kao mad`asa lao gae ivada[- kI [sa vaolaa maoM jaba maOMnao gau$jaIo ko carNa Cue tao vao rao
pM.saaohnalaala nao iflma jagat\ maoM AcCa naama kmaayaa qaa AaOr pD,o vah dRSya Aaja BaI maorI AaKaoM ko saamanao hO jabaik
]nako Bavya bagalaa AaOr Aasapasa ko SaaMt vaatavarNa sao gau$jaI vaI.TI.sToSana pr KD,o qao AaOr inasahaya maorI Aaor
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]nako Baa kao rayagaZ, CaoD,naa pD,a AaOr jaba ]nhaoMnao Apnao ApnaI ivaSaoYata qaI gaayak ].AmaIr K,a ko jaao saMgaIt
Baa kao saaxaat\ saamanao Aato doKa tao ]nako AanaMd ka inado-Sak qao vaaV saMgaIt saMyaaojana sao baMidSaaoM kao ek ApUva-
izkanaa na rha vaastva maoM yah AanaMdaEaupUNa- punaima-lana qaa nayaa rMga imala jaata qaa maorI dRiYT maoM gau$jaI kI EaoYz saja-
gau$ jayalaala nao ]nhoM galao lagaa ilayaa AaOr xamaa yaacanaa kI naa%mak kRit qaI raqaa kRYNa yaugala naR%ya [samaoM ]nhaoMnao
gau$jaI nao Apnao Baa ka carNa spSa- krto hue kha ip`ya svayaM Bagavaana kRYNa ko $p maoM naR%ya ikyaa AaOr raQaa qaI saIta
Ba`ata jaao BaI huAa vah AcCo ko ilae hI huAa yaid Aap baasaurI pr raga pIlaU maoM ivalaMibat lahra cala rha qaa AaOr ]saI
mauJao Da^Tto nahIM tao mauJao Apnao ivad\vaana caacaa pM.dugaa-p`saad ko saaqa naR%ya AarMBa huAa vah lahra Aaja BaI maoro kanaaoM maoM
sao saIKnao ka Avasar kBaI nahIM imalata rajaasaahba kao BaI gaUja rha hO yah ]%kRYT baMidSa pUNa-t zaz AaOr gat pr
yah jaanakr p`sannata hu ik gau$jaI vaapsa Aa gae AaOr vah AaQaairt qaI [sako pScaat\ gau$jaI nao kBaI iksaI ko saaqa
BaI pM.dugaa-p`saad sao iSaxaa p`aPt kr jaOsaa ik rajaa saahba yaugala naR%ya nahIM ikyaa ]nakI Anya baMidSaaoM maoM hOM ivaiBanna
ka svaBaava qaa ]nhaoMnao ek idna gau$jaI kao Apnao drbaar ko naaiyakaAaoM kI gatoM ijanamaoM AiBasaairka gat kI baD,I
ek bahut p`vaINa tbailae ko ivaQd KD,a kr idyaa AaOr p`SaMsaa hu[- [sa ivaiSaYT gat ko saIKnao ko ilae iva#yaat
[cCa p`kT kI ik gau$jaI p`qama Aamad maoM hI sama pr ]nhoM kqak naR%yaaMganaa maoDma maonaka nao ]nhoM KMDalaa isqat ApnaI
prast kroM yah ek bahut baD,a AadoSa qaa ikMtu gau$jaI nao saMsqaa maoM AamaMi~t ikyaa
[sao iSaraoQaaya- kr ]stad kao maSa dao baar prast kr idyaa yah ]llaoKnaIya hO ik puvaOyaa baihnaaoM ko AnauraoQa pr kaya-ma gau$jaI kI mahana ]plaibQa pr rajaasaahba nao p`sannata p`kT ko AarMBa maoM gaNaoSa stuit AaOr gaNaoSa prNa naacanao ka p`vat-kI AaOr ]nakI BaUir BaUir p`SaMsaa kI gau$jaI kI Anya na gau$jaI nao ikyaa mauJao ABaI tk smarNa hO ik ica~a nao klaa%mak ]plaibQa qaI iksaI tala ivaSaoYa ko ek Aavat-na ]nnaIsa maa~aAaoM kI tala maoM inabaw ek baMidSa kI p`stuit maoM ko saaqa gaulaala maoM pUra ica~ AMikt krnao kI ]nakI xamata safla p`dSa-na ikyaa mauJao svayaM eosao dao raomaaMcakarI p`dSa-na doKnao ka saaOBaagya imalaa
puvaOyaa baihnaaoM ka naR%ya kaya-ma Ainavaaya-t gau$jaI ko hO jabaik gau$jaI nao tInatala maoM sama sao sama tk haqaI
saMixaPt prMpragat kqak naR%ya ko saaqa haota qaa [sa saMbaMQa maoM ka ica~ AMikt ikyaa ivaWana evaM catur rajaa saahba nao ek
saIta baD,o ivanaaod sao batatI hOM ik iksa p`kar gau$jaI Wara baar gau$jaI kao dadra tala maoM haqaI AMikt krnao kI caunaaOtI
galat vyaa#yaa ko pirNaamasva$p ek gat ka inamaa-Na huAa dI ]nhoM AaSaa qaI ik gau$jaI pICo hT jaaegao @yaaoMik C
saIta nao gau$jaI kao prMpragat kqak SaOlaI maoM saaolaao maa~aAaoM maoM haqaI AMikt krnaa p`aya AsaMBava qaa ikMtu
ekakI naR%ya poSa krnao ko ilae manaanaa caaha saIta nao gau$jaI nao caunaaOtI svaIkar kI AaOr dadra kao ivalaMibat laya maoM
gau$jaI sao kha gau$jaI @yaa hmaaro p`aoga`ama maoM Aap saaolaao rKkr haqaI AMikt kr sabakao AaScaya-caikt kr idyaa
nahIM naaca sakto hOM gau$jaI nao saaolaao ka galat Aqa- jaba gau$jaI nao rayagaZ, CaoD,a tba raja caQarisaMh nao ]nakI lagaayaa AaOr kha baoTI ijatnaa saaolaao slaao khao haid-k p`Saist kI AaOr ]nakI ]plaibQayaaoM ko ilae ilaiKt ]tnaa saaolaaoslaao ivalaMibat naaca sakta hU khao tao p`Saist p~ p`dana ikyaa maOMnao gau$jaI ko pasa yah p`Saist ivalaMibat laya maoM gat naacaU saIta nao AnauBava ikyaa ik p~ doKa hO rayagaZ, maoM yaSa p`aPt krnao ko baad gau$jaI sana\ gau$jaI nao Sabd kao galat Aqa- maoM ilayaa hO ikMtu vah yah 1932 33 maoM baMba Aa gae AaOr Apnao caacaa pM.dugaa-p`saad jaananao kao ]%sauk qaI ik gau$jaI @yaa krto hOM ]sanao gau$jaI ko AadoSa pr ]nhaoMnao kuC iSaYyaaoM kao p`iSaxaNa donaa AarMBa kao gat banaanao ko ilae p`oirt ikyaa [sa p`kar SaoYaSaayaI ikyaa ]nakI p`qama iSYyaa qaIM iva#yaat kvaiya~I saraoijanaI ivaYNau gat ka janma huAa jaao Apnao ZMga kI ek hI gat hO naayaDU kI baihna EaImatI saunaailanaIdovaI ]sako baad qaIM
AaScaya- AaOr duK kI baat yah hO ik AcCI baat p`aya dIGa-iva#yaat puvaOyaa baihnaoM saIta ica~a evaM lata puvaOyaa baihnaaoM
jaIvaI nahIM rhtI iksaI galatfhmaI ko karNa gau$jaI ka ko saMpk- sao gau$jaI kI saRjanaa%mak p`itBaa ko ilae AnaukUla
puvaOyaa baihnaaoM sao saMbaMQa ivacCod hao gayaa yah samaya qaa sana\ vaatavarNa inaima-t huAa ]nako sauJaava AaOr kqaavastu ko
1936 ka ]sa samaya maOM gau$jaI sao iSaxaa lao rha qaa ijasa AaQaar pr gau$jaI maMca p`stuit ko ilae sauMdr baMidSaoM banaa doto
samaya maOMnao mahsaUsa ikyaa ik puna maola kI kao[- saMBaavanaa nahIM hO jaao prMpra ko Anau$p haotIM saItahrNa jaTayau vaQa
AaOr gau$jaI BaarI Aaiqa-k kiznaa[- maoM hOM tba maOMnao Eawoya gau$ mauid`ka ko saaqa hnaumaana ka laMkavaaiTka maoM Aagamana
maharaja ibaMdadIna ko naama pr ek saMsqaa sqaaipt krnao ka laMkadhna jaOsao ramaayaNa ko p`saMgaaoM ko p`stutIkrNa kI
09
Pt. SHAMBHU MAHARAJ
Mohanrao Kalyanpurkar
Maharaj Bindadeen, uncle of Shambhu Maharaj, and the revered patriarch of the
Lucknow gharana was well-known for his abhinaya, so much so that his name has
become synonymous with abhinaya in Kathak. He was short in stature and not
strikingly handsome. But it is said that the gestures of his eyes and hands during
the performance of his abhinaya created illusions' that were incredible. There is a
legend that when he performed in the Nathdwara temple, the entire congregation
prostrated itself before him. When Maharaj Bindadeen appeared before them in
the posture of Krishna holding the flute, they saw him as a vision of the Lord
Himself. Such was the spell of his abhinaya.
The most spontaneous and handsome tribute to this, great dancer comes from
none other than the distinguished philosopher of art, Ananda Coomaraswamy. In
his Notes on Indian Dramatic Technique, published in 1914, he writes,
"I have never seen, nor do I hope to see," better acting than I saw once in Lucknow,
when an old man . a poet and dancer and a teacher of many, many dancing
girls . sang a Herd-Girl's 'complaint to the mother of Krishna'. This famous dancer
whose name is Bindaeen, is a devout Brahman . Thus, before an audience of
pupils and neighbours, this old man sat on the ground and sang his poem. Picking
Bir
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gau$jaI nao SaaMit AnauBava kI ]nhaoMnao ApnaI p%naI ko Baa[- kao ko Gar gae vaha ]pisqat ek tbailae nao lacCU maharaja evaM
p`iSaxaNa donaa AarMBa ikyaa yah baalak SaIGa` hI mad`asa ko laKna} Garanao ko ilae kuC ApSabd kho gau$jaI nao ]sao
klaakaraoM ko ilae AakYa-Na ka koMd` bana gayaa p`itBaavaana\ caotavanaI dI AaOr fTkara ikMtu vah gau$jaI pr hI ibagaD,
baala klaakar kao ek samaaraoh maoM EaImait baala sarsvatI pD,a gau$jaI nao ]sao vastut ]za ilayaa AaOr ApnaI laaOh baahaoM
Wara baala gau$ kI ]paiQa dI ga[- maoM jakD, ilayaa ]sa vyai> kI AaKoM AaOr jaIBa inakla Aa[-
].mauhmmad K,a AaOr ek Anya vyai> icallaae AaOr ]sao kala ko krala haqaaoM nao puna gau$jaI kao ]Woilat kr idyaa CaoD,nao ko ilae kha tba gau$jaI nao ]sao CaoD,a baad maoM ]sanao [sa baalak kao ek pagala kuek hU AaOr saMBavat EaI kMudnalaala evaM maorz ko EaI
hjaarIlaala BaI [sa ipTa[- sao baca sako kqak naR%ya ko xao~ maoM gau$jaI ka Avadana Atulya hO ikMtu
]sao Apoixat maanyata nahIM imalaI maOMnao ]nakI ]plaibQayaaoM ka gau$jaI ApnaI SaarIirk Sai> pr gava- krto qao AaOr yah qaaoqaa vaNa-na ikyaa hO sana\ 1970 maoM gau$jaI fofD,o ko kOMsar sao gava- nahIM qaa ek baar hma baMba[- maoM ek AaOVaoigak p`dSa-naI pIiD,t hue AaOr saba p`kar kI icaik%saa ko baavajaUd 30 ma[- doKnao gae gau$jaI ek pkD,prIxaNa maSaIna ko p`it 1970 kao ]naka dohavasaana hao gayaa [sa p`kar ek mahana\ AakRYT hue ]nhaoMnao fIsa dI AaOr maSaIna kao pUrI gait sao klaakar EaoYz gau$ ip`ya vyai>%va ek inaYzavana\ iSaYya calanao ko ilae [MiDkoTr kao baaQya kr idyaa ]nhaoMnao maSaIna ko ko jaIvana ka Avasaana hao gayaa eosao mahana\ gau$ ]nako iSaYyaaoM p`Baar Isao kha mauJao Apnao daonaaoM haqaaoM ka p`yaaoga krnao AaOr risakaoM ko ilae sada smarNaIya rhoMgao evaM p`cCnna $p maoM dIijae maOM AapkI maSaIna vaak,[- taoD, dUgaa maora ivaSvaasa hO ]naka maaga- p`Sast krto rhoMgao ik vao vaOsaa kr BaI doto ek hI mauiYTp`har maoM naairyala taoD,
donaa ]nako ilae Kola qaa ek baar hma ].mauhmmad K,a saahba
09
Pt. SHAMBHU MAHARAJ
Mohanrao Kalyanpurkar
Maharaj Bindadeen, uncle of Shambhu Maharaj, and the revered patriarch of the
Lucknow gharana was well-known for his abhinaya, so much so that his name has
become synonymous with abhinaya in Kathak. He was short in stature and not
strikingly handsome. But it is said that the gestures of his eyes and hands during
the performance of his abhinaya created illusions' that were incredible. There is a
legend that when he performed in the Nathdwara temple, the entire congregation
prostrated itself before him. When Maharaj Bindadeen appeared before them in
the posture of Krishna holding the flute, they saw him as a vision of the Lord
Himself. Such was the spell of his abhinaya.
The most spontaneous and handsome tribute to this, great dancer comes from
none other than the distinguished philosopher of art, Ananda Coomaraswamy. In
his Notes on Indian Dramatic Technique, published in 1914, he writes,
"I have never seen, nor do I hope to see," better acting than I saw once in Lucknow,
when an old man . a poet and dancer and a teacher of many, many dancing
girls . sang a Herd-Girl's 'complaint to the mother of Krishna'. This famous dancer
whose name is Bindaeen, is a devout Brahman . Thus, before an audience of
pupils and neighbours, this old man sat on the ground and sang his poem. Picking
Bir
th ce
nte
nary c
ele
bra
tio
n b
y N
ad
roo
p
gau$jaI nao SaaMit AnauBava kI ]nhaoMnao ApnaI p%naI ko Baa[- kao ko Gar gae vaha ]pisqat ek tbailae nao lacCU maharaja evaM
p`iSaxaNa donaa AarMBa ikyaa yah baalak SaIGa` hI mad`asa ko laKna} Garanao ko ilae kuC ApSabd kho gau$jaI nao ]sao
klaakaraoM ko ilae AakYa-Na ka koMd` bana gayaa p`itBaavaana\ caotavanaI dI AaOr fTkara ikMtu vah gau$jaI pr hI ibagaD,
baala klaakar kao ek samaaraoh maoM EaImait baala sarsvatI pD,a gau$jaI nao ]sao vastut ]za ilayaa AaOr ApnaI laaOh baahaoM
Wara baala gau$ kI ]paiQa dI ga[- maoM jakD, ilayaa ]sa vyai> kI AaKoM AaOr jaIBa inakla Aa[-
].mauhmmad K,a AaOr ek Anya vyai> icallaae AaOr ]sao kala ko krala haqaaoM nao puna gau$jaI kao ]Woilat kr idyaa CaoD,nao ko ilae kha tba gau$jaI nao ]sao CaoD,a baad maoM ]sanao [sa baalak kao ek pagala kuek hU AaOr saMBavat EaI kMudnalaala evaM maorz ko EaI
hjaarIlaala BaI [sa ipTa[- sao baca sako kqak naR%ya ko xao~ maoM gau$jaI ka Avadana Atulya hO ikMtu
]sao Apoixat maanyata nahIM imalaI maOMnao ]nakI ]plaibQayaaoM ka gau$jaI ApnaI SaarIirk Sai> pr gava- krto qao AaOr yah qaaoqaa vaNa-na ikyaa hO sana\ 1970 maoM gau$jaI fofD,o ko kOMsar sao gava- nahIM qaa ek baar hma baMba[- maoM ek AaOVaoigak p`dSa-naI pIiD,t hue AaOr saba p`kar kI icaik%saa ko baavajaUd 30 ma[- doKnao gae gau$jaI ek pkD,prIxaNa maSaIna ko p`it 1970 kao ]naka dohavasaana hao gayaa [sa p`kar ek mahana\ AakRYT hue ]nhaoMnao fIsa dI AaOr maSaIna kao pUrI gait sao klaakar EaoYz gau$ ip`ya vyai>%va ek inaYzavana\ iSaYya calanao ko ilae [MiDkoTr kao baaQya kr idyaa ]nhaoMnao maSaIna ko ko jaIvana ka Avasaana hao gayaa eosao mahana\ gau$ ]nako iSaYyaaoM p`Baar Isao kha mauJao Apnao daonaaoM haqaaoM ka p`yaaoga krnao AaOr risakaoM ko ilae sada smarNaIya rhoMgao evaM p`cCnna $p maoM dIijae maOM AapkI maSaIna vaak,[- taoD, dUgaa maora ivaSvaasa hO ]naka maaga- p`Sast krto rhoMgao ik vao vaOsaa kr BaI doto ek hI mauiYTp`har maoM naairyala taoD,
donaa ]nako ilae Kola qaa ek baar hma ].mauhmmad K,a saahba
11
When a critic questions him about his apathy towards the terms of the mudras, he said; "When I do the
abhinaya for any thumri or bhajan, my aim is to convey to you the rasa and the bhavas of the
composition. Once I succeed in doing this, I feel I have nothing to do with the names of the mudras. I
term the gestures which are used by me are spontaneous and natural."
To him the execution of abhinaya was more important than the knowledge of the names of the mudras
he had used, because he believed in the total impact of his interpretation on his audience. He
considered this the quintessence of the art of abhinaya. But he was not against the terms and teaching
their proper meaning and use to the new generation of pupils. "You must certainly teach the names of
the mudras to your pupils because it is a good thing to possess such knowledge", he said to me once
and then added humorously, "If now, at this stage, I think of learning the names, I think I will forget my
abhinaya just as the centipede forgot how to crawl in trying to count the number of its feet."
It is well-highly impossible to put on paper the subtle nuances of his nain bhava and to describe in detail
his abhinaya. But we can catch a glimpse of its salient features, using as a concrete example his
favourite thumri koun gali gayo Shyam.
"Tell me, my friend, which path (gali) my Shyam took. I have searched (for him) in Gokul and i have
searched (for him) in Vrindavan (and now) at Mathura it is evening (getting dark)."
This is how he began his abhinaya:
One. Koun-raising the left eye-brow; gali-tracing an imaginary path-way with the eyes from over the
right shoulder to the far corner of the hall; gayo-raising the body and the head a little and looking far
away in that direction; Shyam a slight movement of the neck (sundari greeva).
Two. Koun -raising the right eye-brow, simultaneously tilting the head very slightly; gali-tracing a path
as before but from the left to the right corner of the hall; gayo-raising the body and the head and
craning the neck to look into the distance in a searching movement; Shyam-the same neck movement
with a slight frown to show disappointment.
Three. Koun-raising both the eye-brows with a slight upward jerk of the head; gali-tracing with the eyes
a winding path from the near front to the far end of the hall; gayo raising the body slightly supported
by the right hand and looking far ahead with a searching expression and a slight frown,
Shyamdrooping eye-lids and a slow tilting down of the head to express, utter disappointment.
Words fail to describe the finer shades of the nain bhava. One had glimpses of the subtle nuances of
anxiety, disappointment, impatience, touching pathos, abject helplessness and anger at the sakhi's
reluctance to divulge the secret of his movements.
After the nain bhava which never failed to send the audience into raptures, he proceeded with the kara
bhava, which I will describe by trying to identify the mudras he used. It goes without saying that all the
hand gestures were in harmony with the emotions expressed on the face.
One. Koun-alapadma with the right hand; gali-soochi hasta with the same right hand pointing to the
imagined gali; gayo Shyam - a searching look and placing both hands in the ardhachandra mudra close
to each other over the head to denote the crown (mukut).
Two. Koun- both the hands in pataka, stretched out slightly in the direction of the sakhi; gali-describing
a winding path in front with both hands in the pataka mudra, and the hands facing each other; gayo
Shyam-looking straight ahead with one hand in arala above the head, facing outwards and the other
near the lips to suggest the flute.
Three. A further elaboration of the theme was suggested thus: The sakhi was questioned. The hands
pointed in various directions to say:
"Is this the gali?" "No!!"
"Then it may be this one?" "No!!"
"Sure enough it must be this?" "No!!"
To show the exasperation of the questioner he lightly tapped the back of his right hand on the palm of
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up a scarf, he used it as a veil and no one could have remembered that he was anything but a shy and
graceful young girl, telling a story with every sort of dramatic gesture of the hand and eyes. She told
how Krishna had stolen the butter and the curds, what pranks he played, of his love-making and every
sort of naughtiness. Every feature of the face, every movement of the body and hands was intentional,
controlled, hieratic; not all his own devotion to Krishna spoiled his art to the least degree."
One had only to watch the performance of Shambhu Maharaj, the nephew of the great maestro
Maharaj Bindadeen to experience the truth of what Ananda Coomaraswamy wrote, what he sought to
communicate when he described the exquisite abhinaya of Maharaj Bindadeen. The older generation
of Lucknow, who were closely associated with Maharaj Bindadeen and had seen him perform on a
number of occasions, maintained that Shambhu Maharaj had inherited the great mimetic powers of
his uncle. They also said that he could lend to his abhinaya, the same aesthetic grandeur and artistic
excellence that his uncle did.
Maharaj Bindadeen died when Shambhu Maharaj was a mere child of eight and so he could not impart
his art directly to his nephew. Shambhu Maharaj was, therefore, entirely trained by his illustrious elder
brother Achchan Maharaj, whom he held in the highest esteem. Later Shambhu Maharaj was able to
carve a distinctive style of his own which was more in
tune with his own dynamic personality. His style bore
the stamp of his own genius. He excelled in abhinaya
and even his guru paid a tribute to him for his
achievement in this sphere.
Shambhu Maharaj was tall and handsome. He had a
sinewy figure and chiselled features. A broad
forehead, well-marked eyebrows, large and eloquent
eyes and sensuous lips were ideal assets and he used
them to advantage in his abhinaya. It was his practice
to begin his abhinaya performance with a recital of
the text of the composition; then he went on to do the
abhinaya. He had a well-trained voice, rich and
melodious. He modulated it to suit the purpose of the
words and with such a charming effect that he could
immediately establish a rapport with his audience
and communicate to his listeners the basic mood of
the song. The abhinaya prooer began with the varied
and suggestive use of his eloquent eyes and mobile
face. This he called nain bhava. The term is perhaps
not a strictly academic one but the effect it created on the audience was really amazing. The illustration
of the nine rasas with just the use of the eyes is not new to abhinaya. I have witnessed artists in other
styles perform it with rare skill. A slight digression will illustrate the power that lies latent in the eyes.
There is that beautiful shloka of Adi Shankaracharya in Soundarya-Lahari, describing the Rasa Drishti.
"Oh Mother! Thy gaze is soft with love towards Shiva; full of disgust towards other people; furious
towards Ganga; expressive of wonder at Girisha's life career; full of dread (when
confronted) with the snakes (ornaments) of Hara; victorious over the beautiful colour of the lotus;
smiles on thy sakhis; and is full of compassion towards me."
The nine rasas, Shringara, Bibhatsa, Raudra, Adbhuta, Bhayanaka, Veera, Hasya, and Karuna are
described as they express themselves in the Mother's gaze.
Shambhu Maharaj's nain bhava was followed by a further elaboration of the bhavas, with the use of
hand gestures which he called kara bhava. Though he employed a large number of those prescribed in
the ancient texts, he did not make a fetish of terminology. But one had no doubt that he used all the
Head Gestures, Eye Gestures, Eyebrow Gestures, Neck Gestures, almost all the One-hand Gestures and
a large number of the Combined-hand Gestures of the texts.
His beautiful eyes
remained open even in death.
Perhaps even Death was
so fascinated by
their appeal that
it did not have
the heart to close them.
11
When a critic questions him about his apathy towards the terms of the mudras, he said; "When I do the
abhinaya for any thumri or bhajan, my aim is to convey to you the rasa and the bhavas of the
composition. Once I succeed in doing this, I feel I have nothing to do with the names of the mudras. I
term the gestures which are used by me are spontaneous and natural."
To him the execution of abhinaya was more important than the knowledge of the names of the mudras
he had used, because he believed in the total impact of his interpretation on his audience. He
considered this the quintessence of the art of abhinaya. But he was not against the terms and teaching
their proper meaning and use to the new generation of pupils. "You must certainly teach the names of
the mudras to your pupils because it is a good thing to possess such knowledge", he said to me once
and then added humorously, "If now, at this stage, I think of learning the names, I think I will forget my
abhinaya just as the centipede forgot how to crawl in trying to count the number of its feet."
It is well-highly impossible to put on paper the subtle nuances of his nain bhava and to describe in detail
his abhinaya. But we can catch a glimpse of its salient features, using as a concrete example his
favourite thumri koun gali gayo Shyam.
"Tell me, my friend, which path (gali) my Shyam took. I have searched (for him) in Gokul and i have
searched (for him) in Vrindavan (and now) at Mathura it is evening (getting dark)."
This is how he began his abhinaya:
One. Koun-raising the left eye-brow; gali-tracing an imaginary path-way with the eyes from over the
right shoulder to the far corner of the hall; gayo-raising the body and the head a little and looking far
away in that direction; Shyam a slight movement of the neck (sundari greeva).
Two. Koun -raising the right eye-brow, simultaneously tilting the head very slightly; gali-tracing a path
as before but from the left to the right corner of the hall; gayo-raising the body and the head and
craning the neck to look into the distance in a searching movement; Shyam-the same neck movement
with a slight frown to show disappointment.
Three. Koun-raising both the eye-brows with a slight upward jerk of the head; gali-tracing with the eyes
a winding path from the near front to the far end of the hall; gayo raising the body slightly supported
by the right hand and looking far ahead with a searching expression and a slight frown,
Shyamdrooping eye-lids and a slow tilting down of the head to express, utter disappointment.
Words fail to describe the finer shades of the nain bhava. One had glimpses of the subtle nuances of
anxiety, disappointment, impatience, touching pathos, abject helplessness and anger at the sakhi's
reluctance to divulge the secret of his movements.
After the nain bhava which never failed to send the audience into raptures, he proceeded with the kara
bhava, which I will describe by trying to identify the mudras he used. It goes without saying that all the
hand gestures were in harmony with the emotions expressed on the face.
One. Koun-alapadma with the right hand; gali-soochi hasta with the same right hand pointing to the
imagined gali; gayo Shyam - a searching look and placing both hands in the ardhachandra mudra close
to each other over the head to denote the crown (mukut).
Two. Koun- both the hands in pataka, stretched out slightly in the direction of the sakhi; gali-describing
a winding path in front with both hands in the pataka mudra, and the hands facing each other; gayo
Shyam-looking straight ahead with one hand in arala above the head, facing outwards and the other
near the lips to suggest the flute.
Three. A further elaboration of the theme was suggested thus: The sakhi was questioned. The hands
pointed in various directions to say:
"Is this the gali?" "No!!"
"Then it may be this one?" "No!!"
"Sure enough it must be this?" "No!!"
To show the exasperation of the questioner he lightly tapped the back of his right hand on the palm of
Bir
th ce
nte
nary c
ele
bra
tio
n b
y N
ad
roo
p
up a scarf, he used it as a veil and no one could have remembered that he was anything but a shy and
graceful young girl, telling a story with every sort of dramatic gesture of the hand and eyes. She told
how Krishna had stolen the butter and the curds, what pranks he played, of his love-making and every
sort of naughtiness. Every feature of the face, every movement of the body and hands was intentional,
controlled, hieratic; not all his own devotion to Krishna spoiled his art to the least degree."
One had only to watch the performance of Shambhu Maharaj, the nephew of the great maestro
Maharaj Bindadeen to experience the truth of what Ananda Coomaraswamy wrote, what he sought to
communicate when he described the exquisite abhinaya of Maharaj Bindadeen. The older generation
of Lucknow, who were closely associated with Maharaj Bindadeen and had seen him perform on a
number of occasions, maintained that Shambhu Maharaj had inherited the great mimetic powers of
his uncle. They also said that he could lend to his abhinaya, the same aesthetic grandeur and artistic
excellence that his uncle did.
Maharaj Bindadeen died when Shambhu Maharaj was a mere child of eight and so he could not impart
his art directly to his nephew. Shambhu Maharaj was, therefore, entirely trained by his illustrious elder
brother Achchan Maharaj, whom he held in the highest esteem. Later Shambhu Maharaj was able to
carve a distinctive style of his own which was more in
tune with his own dynamic personality. His style bore
the stamp of his own genius. He excelled in abhinaya
and even his guru paid a tribute to him for his
achievement in this sphere.
Shambhu Maharaj was tall and handsome. He had a
sinewy figure and chiselled features. A broad
forehead, well-marked eyebrows, large and eloquent
eyes and sensuous lips were ideal assets and he used
them to advantage in his abhinaya. It was his practice
to begin his abhinaya performance with a recital of
the text of the composition; then he went on to do the
abhinaya. He had a well-trained voice, rich and
melodious. He modulated it to suit the purpose of the
words and with such a charming effect that he could
immediately establish a rapport with his audience
and communicate to his listeners the basic mood of
the song. The abhinaya prooer began with the varied
and suggestive use of his eloquent eyes and mobile
face. This he called nain bhava. The term is perhaps
not a strictly academic one but the effect it created on the audience was really amazing. The illustration
of the nine rasas with just the use of the eyes is not new to abhinaya. I have witnessed artists in other
styles perform it with rare skill. A slight digression will illustrate the power that lies latent in the eyes.
There is that beautiful shloka of Adi Shankaracharya in Soundarya-Lahari, describing the Rasa Drishti.
"Oh Mother! Thy gaze is soft with love towards Shiva; full of disgust towards other people; furious
towards Ganga; expressive of wonder at Girisha's life career; full of dread (when
confronted) with the snakes (ornaments) of Hara; victorious over the beautiful colour of the lotus;
smiles on thy sakhis; and is full of compassion towards me."
The nine rasas, Shringara, Bibhatsa, Raudra, Adbhuta, Bhayanaka, Veera, Hasya, and Karuna are
described as they express themselves in the Mother's gaze.
Shambhu Maharaj's nain bhava was followed by a further elaboration of the bhavas, with the use of
hand gestures which he called kara bhava. Though he employed a large number of those prescribed in
the ancient texts, he did not make a fetish of terminology. But one had no doubt that he used all the
Head Gestures, Eye Gestures, Eyebrow Gestures, Neck Gestures, almost all the One-hand Gestures and
a large number of the Combined-hand Gestures of the texts.
His beautiful eyes
remained open even in death.
Perhaps even Death was
so fascinated by
their appeal that
it did not have
the heart to close them.
13
following with her eyes the patterns of the galis made by the smoke and asking the same question
koun gali gayo Shyam. Shambhu Maharaj executed this particular bhava with such rare skill that
it invariably brought tears to the eyes of the audience and even Shambhu Maharaj himself seemed
visibly moved.
He did not dwell at length on the last two lines of the song. Gokul was shown by the milking of the cows
and the churning of the curds while dhoondi was shown by gestures suggesting a frantic search.
Vrindavana was depicted by maidens walking down the ghats of the Jamuna for water. Mathura was
identified with the ruling Kamsa by a gesture suggesting his moustaches and an arrogant look. Ho gayi
sham - the rising of the sun, tracing its path through the sky with the eyes or the hand and ending with
the sunset shown by closing of the eyes, lighting an oil lamp and setting out to search for the foot-prints
of Shyam.
Thus ended the magnificent performance. One marvelled at the depth of his conception and the
picturesque elegance with which he demonstrated through bhavas. The lingering warmth seemed to
cling to you for days on end.
Another favourite of his was Madho kahi na jat dukh Brijake which described the plight of the helpless
gopis of Braj when Lord Krishna left them and stayed at Mathura. Uddhava was sent by Krishna to Braj
to pacify the gopis and teach them the philosophy of Brahman. Uddhava returned to Mathura,
converted to the philosophy of love. In this song he narrates the pangs of separation experienced by
the gopis and other beings in Braj. I still recall that evening in Lucknow when Shambhu Maharaj sang
those lines. On this particular occasion his abhinaya reached such heights that not a single individual in
the audience could hold back his tears. The great maestro himself was so visibly moved that he had to
bring the performance to an abrupt stop.
In his younger days he preferred to render these songs: Kisne chilman se mara nazara mujhe; Tan-e-
mareez me dam ka shumar baki hai; Chale aiho Kanha Jamuna kinare mero gaon; Nikas chalbe tum ko
laike sanwariya and present their meaning through his abhinaya. These songs used to be considered as
commonplace verses by many performers. But the genius of Shambhu Maharaj and his artistic
brilliance lent them a refined meaning and a new dignity. Once a connoisseur chided him for choosing
such songs. Shambhu Maharaj was hurt by such criticism. He considered it a challenge and with the
superb abhinaya accompanying Chale aiho Kanha Jamuna kinare mero gaon he won the acclaim of the
accuser.
Shambhu Maharaj was a master of abhinaya. But he was also as adept in the nritta aspect of the Kathak
style of dance. His execution of the various bols such as the amad, paran and paramelu bore the stamp
of his distinctive style and individuality. He had improvised hastakas for the traditional bols and they
were both picturesque and graceful. He always tried to avoid speed in performance and laid greater
stress on precision in the co-ordinated movements of the body, arms, hands, head and eyes,
accompanied, of course, with the correct timing of the foot-work. All his compositions had a lyrical
form and extraordinary grace. Every movement had the right accent which highlighted the particular
syllable of the bol and the combination of all movements helped to emphasise the beauty of the
complete bol.
He visualised the bol as a personality and then conceived appropriate hastakas to suit its character.
Thus, for the parans which are composed of heavy and forceful pakhawaj syllables, he always
employed vigorous movements and for some of the soft sounding natawari bols he used exceedingly
light and fragile movements which matched their temper.
When he introduced these innovations, he always sought the sanction of his eldest brother, Guru
Achchan Maharaj who, in turn, invariably showed his approval by a word of praise and appreciation.
Here are some of the bols which he himself danced, adding to them a personal touch. He also taught
them to his pupils.
Bir
th ce
nte
nary c
ele
bra
tio
n b
y N
ad
roo
p
his left or on the right thigh as if to say,
"Oh! How can I ever find Him if you keep on deceiving me thus?"
All these gestures he used to combine with the line bata do gunya, cajoling the friend, beseeching her
with folded hands, touching her feet humbly and then showing her own annoyance because the friend
has turned a deaf ear to all her entreaties.
The next step was to emphasise the various ways of searching for Him.
(I) Parting the low branches of a tree to get a better view (pataka hands both turned outwards).
(ii) Removing an object which obstructed the view - a vertical pataka turned outwards and moved
away from the line of vision by the other hand with sarpashirsha mudra.
(iii) Looking over a hedge or a small parapet - placing both pataka hastas one hand exactly over the
other with the tips of the middle finger of one hand touching the wrist of the other hand and kept
parallel to the ground just below the line of vision. Slowly raising the head as if looking over it.
(iv) Holding the branches of a tree on the right with both hands - the right hand in the mushtimudra
turned outwards, and raised above the head and the left also in a similar mudra held a little
below,near about the right shoulder, searching intently from the left to the right. Then followed a
detailed description of Shyam.
(a) Shyam with his long curly hair - both hands in the soochi hasta, slowly moving down the temples to
the shoulders, the stretched finger making revolving movements.
(b) Who wears the mukut - with the ardhachandra hands as described earlier.
(c) Dark as the cloud - both pataka hands, palms down held high above the head, describing the
movement of the cloud.
(d) Who wears the Vaijayanti Mala - showing the spot where the garland is and with the right hand in
mrigashirsha mudra.
(e) Who wears armlets - placing the armlets in their proper places and tightening them. The string is
held in the teeth and the bead provided is moved towards the arm with the hamsasya hasta.
(f) Who wears wristlets - the wristlets are fastened by tightening the clasps provided with the
hamsasya hasta.
(g) Who wears the peetambara - describe the tying of the peetambara.
(h) And finally, Shyam, who plays on the flute - both hands near the lips (to the right) in arala mudra.
Then Shambhu Maharaj went on to describe sanchari bhavas. This was his forte. He had such a deep
perception and such imaginative gifts that their depiction was really exquisite.
(i) "Has his beautiful form reached another heart through (the gali of) the eyes? " Both the hands with
hamsasya mudra pointing downwards, moving down from the front of the eyes towards the heart.
(ii) "Has he captivated somebody's heart like sweet perfume?"
Applying the perfume on the back of the hand and inhaling it.
(iii) "Has he entered another heart as the melody of his flute through the ears?"
(iv) "Has he become as attached to another gali as the sindur is to the parting of the hair?"
(v) "Has he become attached to a gali like the kajal or surma to the eye?"
Sanchari bhavas were then enacted by comparing the wearing of the various ornaments of the ear,
nose, bangles on the wrists and the finger-rings on the fingers to the entering and adorning a
gali by Shyam. Shambhu Maharaj continued to unfold the bhavas, making each one more appealing
than the previous one. The crowning bhava was expressed thus: the death of a person, the laying of
the body on the funeral pyre, the breaking of the bangles, the removing of all ornaments and washing
off the sindur by his wife to suggest widowhood, the lighting of the pyre, the sorrowing women
13
following with her eyes the patterns of the galis made by the smoke and asking the same question
koun gali gayo Shyam. Shambhu Maharaj executed this particular bhava with such rare skill that
it invariably brought tears to the eyes of the audience and even Shambhu Maharaj himself seemed
visibly moved.
He did not dwell at length on the last two lines of the song. Gokul was shown by the milking of the cows
and the churning of the curds while dhoondi was shown by gestures suggesting a frantic search.
Vrindavana was depicted by maidens walking down the ghats of the Jamuna for water. Mathura was
identified with the ruling Kamsa by a gesture suggesting his moustaches and an arrogant look. Ho gayi
sham - the rising of the sun, tracing its path through the sky with the eyes or the hand and ending with
the sunset shown by closing of the eyes, lighting an oil lamp and setting out to search for the foot-prints
of Shyam.
Thus ended the magnificent performance. One marvelled at the depth of his conception and the
picturesque elegance with which he demonstrated through bhavas. The lingering warmth seemed to
cling to you for days on end.
Another favourite of his was Madho kahi na jat dukh Brijake which described the plight of the helpless
gopis of Braj when Lord Krishna left them and stayed at Mathura. Uddhava was sent by Krishna to Braj
to pacify the gopis and teach them the philosophy of Brahman. Uddhava returned to Mathura,
converted to the philosophy of love. In this song he narrates the pangs of separation experienced by
the gopis and other beings in Braj. I still recall that evening in Lucknow when Shambhu Maharaj sang
those lines. On this particular occasion his abhinaya reached such heights that not a single individual in
the audience could hold back his tears. The great maestro himself was so visibly moved that he had to
bring the performance to an abrupt stop.
In his younger days he preferred to render these songs: Kisne chilman se mara nazara mujhe; Tan-e-
mareez me dam ka shumar baki hai; Chale aiho Kanha Jamuna kinare mero gaon; Nikas chalbe tum ko
laike sanwariya and present their meaning through his abhinaya. These songs used to be considered as
commonplace verses by many performers. But the genius of Shambhu Maharaj and his artistic
brilliance lent them a refined meaning and a new dignity. Once a connoisseur chided him for choosing
such songs. Shambhu Maharaj was hurt by such criticism. He considered it a challenge and with the
superb abhinaya accompanying Chale aiho Kanha Jamuna kinare mero gaon he won the acclaim of the
accuser.
Shambhu Maharaj was a master of abhinaya. But he was also as adept in the nritta aspect of the Kathak
style of dance. His execution of the various bols such as the amad, paran and paramelu bore the stamp
of his distinctive style and individuality. He had improvised hastakas for the traditional bols and they
were both picturesque and graceful. He always tried to avoid speed in performance and laid greater
stress on precision in the co-ordinated movements of the body, arms, hands, head and eyes,
accompanied, of course, with the correct timing of the foot-work. All his compositions had a lyrical
form and extraordinary grace. Every movement had the right accent which highlighted the particular
syllable of the bol and the combination of all movements helped to emphasise the beauty of the
complete bol.
He visualised the bol as a personality and then conceived appropriate hastakas to suit its character.
Thus, for the parans which are composed of heavy and forceful pakhawaj syllables, he always
employed vigorous movements and for some of the soft sounding natawari bols he used exceedingly
light and fragile movements which matched their temper.
When he introduced these innovations, he always sought the sanction of his eldest brother, Guru
Achchan Maharaj who, in turn, invariably showed his approval by a word of praise and appreciation.
Here are some of the bols which he himself danced, adding to them a personal touch. He also taught
them to his pupils.
Bir
th ce
nte
nary c
ele
bra
tio
n b
y N
ad
roo
p
his left or on the right thigh as if to say,
"Oh! How can I ever find Him if you keep on deceiving me thus?"
All these gestures he used to combine with the line bata do gunya, cajoling the friend, beseeching her
with folded hands, touching her feet humbly and then showing her own annoyance because the friend
has turned a deaf ear to all her entreaties.
The next step was to emphasise the various ways of searching for Him.
(I) Parting the low branches of a tree to get a better view (pataka hands both turned outwards).
(ii) Removing an object which obstructed the view - a vertical pataka turned outwards and moved
away from the line of vision by the other hand with sarpashirsha mudra.
(iii) Looking over a hedge or a small parapet - placing both pataka hastas one hand exactly over the
other with the tips of the middle finger of one hand touching the wrist of the other hand and kept
parallel to the ground just below the line of vision. Slowly raising the head as if looking over it.
(iv) Holding the branches of a tree on the right with both hands - the right hand in the mushtimudra
turned outwards, and raised above the head and the left also in a similar mudra held a little
below,near about the right shoulder, searching intently from the left to the right. Then followed a
detailed description of Shyam.
(a) Shyam with his long curly hair - both hands in the soochi hasta, slowly moving down the temples to
the shoulders, the stretched finger making revolving movements.
(b) Who wears the mukut - with the ardhachandra hands as described earlier.
(c) Dark as the cloud - both pataka hands, palms down held high above the head, describing the
movement of the cloud.
(d) Who wears the Vaijayanti Mala - showing the spot where the garland is and with the right hand in
mrigashirsha mudra.
(e) Who wears armlets - placing the armlets in their proper places and tightening them. The string is
held in the teeth and the bead provided is moved towards the arm with the hamsasya hasta.
(f) Who wears wristlets - the wristlets are fastened by tightening the clasps provided with the
hamsasya hasta.
(g) Who wears the peetambara - describe the tying of the peetambara.
(h) And finally, Shyam, who plays on the flute - both hands near the lips (to the right) in arala mudra.
Then Shambhu Maharaj went on to describe sanchari bhavas. This was his forte. He had such a deep
perception and such imaginative gifts that their depiction was really exquisite.
(i) "Has his beautiful form reached another heart through (the gali of) the eyes? " Both the hands with
hamsasya mudra pointing downwards, moving down from the front of the eyes towards the heart.
(ii) "Has he captivated somebody's heart like sweet perfume?"
Applying the perfume on the back of the hand and inhaling it.
(iii) "Has he entered another heart as the melody of his flute through the ears?"
(iv) "Has he become as attached to another gali as the sindur is to the parting of the hair?"
(v) "Has he become attached to a gali like the kajal or surma to the eye?"
Sanchari bhavas were then enacted by comparing the wearing of the various ornaments of the ear,
nose, bangles on the wrists and the finger-rings on the fingers to the entering and adorning a
gali by Shyam. Shambhu Maharaj continued to unfold the bhavas, making each one more appealing
than the previous one. The crowning bhava was expressed thus: the death of a person, the laying of
the body on the funeral pyre, the breaking of the bangles, the removing of all ornaments and washing
off the sindur by his wife to suggest widowhood, the lighting of the pyre, the sorrowing women
15
Our artists have
identified beauty with
the infinite glory of God; and
so the expressions of
beauty have been
religious in nature.
To dance is ecstasy symbolised a
dedication to the Supreme, and
thus dance became an
essential part of the puja.
DANCE SEMINAR 1958
Sangeet Natak Akademi
AN ANALYTICAL STUDY
Mohanrao Kalyanpurkar
KATHAK
Kathak is the classical dance form of Northern
India. Though it is prevalent all over this region,
its two main centres are considered to be
Lucknow in Uttar Pradesh and Jaipur in
Rajasthan. Its origins are said to be as old as the
Aryan civilisation of the north, but it is difficult
to say precisely when and how it took its
present form.
In ancient India dance was considered not only
the visual expression of intoxicated energy or
an entertainment for those who wished to be
amused, but an image of the activity of God.
Our artists have identified beauty with the
infinite glory of God; and so the expressions of
beauty have been religious in nature. To dance
is ecstasy symbolised a dedication to the
Supreme, and thus dance became an essential
part of the puja. In Shiva Manas puja, we come
across a shloka:
N> Mm_a`mo`wJ `OZH$ MmXeH$ [Z_b_ &
drUm _o[a _XJ H$m hb H$bm JrV M Z` VWm &
gm>mJ U{V: Vw{Z~h {dmh`oV g_V _`m &
gH$noZ g_{nV_ Vd {d ^ mo nyOm JhmU ^mo &
(2)
Temples became elaborate structures with a
Bir
th ce
nte
nary c
ele
bra
tio
n b
y N
ad
roo
p
Amad:
Amad is a Persian word which means advent or coming. This piece consists of a set pattern of natawari
syllables preceded by a traditionally accepted pakhawaj paran. The following amad was a special
favourite of Shambhu Maharaj. He provided extremely graceful movements with enough scope to
cover a large area of the stage.
Here is another amad in which he deviated a little from the convention that every syllable of the bol
must be produced by the feet. He gave this conventional amad lines as well as postures which were
very refreshing.
Paramelu:
Paramelu is a piece in which syllables, seemingly of various percussion instruments, are combined with
the natawari bols. Some of conventional syllables used are - jaga jaga, thudanga, dhetam, thoonga-
noonga, dhilanga, jhan-jhan, etc.
Natawari:
Natawara is an epithet used to describe Lord Krishna. The word means "the best among the dancers". It
stems from a legend: when Krishna subdued the monster-serpent Kaliya and danced on his hoods, the
syllables ta, theyi, and tat were produced. Hence all the bols composed of these syllables and their
derivatives, digdig, tigdha, tram, are classed as natawari
Paran:
Pieces composed exclusively of the pakhawaj syllables are termed, parans. This paran was a great
favourite of Shambhu Maharaj.
I was associated with him for thirty years, starting from 1 939. I had the good fortune of witnessing
many of his innumerable performances. I revered him as my guru and he had a great affection for me as
his pupil.
As a person, he was very impulsive and believed in intense and moment-to-moment living. There was a
commanding, an almost arrogant note in his form of speech. This was in contrast to the other side of his
nature which was gentle and loving. His mother and his eldest brother were often hurt by his
overbearing manner and prodigal ways.
I will always remember the last performance at Lucknow in 1969 when he performed in my house. He
was ailing and looked very weak and tired. But he agreed to dance because his friends pressed him to
do so. He started with the song Jamuna kinare aj Shyam ne sakhiyon ki chunariyan chheen layin. We
heard it for the first time then. His voice sounded feeble and his gestures lacked their usual force but
the interpretation carried the same spontaneity and dignity. His sanchari bhavas were full of the same
charm. We did not dream then that this would be his last performance.
Abhinaya had become almost second nature with him. Even on his death-bed. Just a few minutes
before he breathed his last, he was heard instructing his nephew Birju Maharaj how to render the
Bahut door ho pas ao tojanu, (You are too far away; come closer to me and I will recognise you). The line
can be interpreted in a myriad ways but it seemed as though he was addressing Death itself. Within a
few seconds he slumped on the pillow across his lap. His beautiful eyes remained open. Perhaps even
Death was so fascinated by their appeal that it did not have the heart to close them.
15
Our artists have
identified beauty with
the infinite glory of God; and
so the expressions of
beauty have been
religious in nature.
To dance is ecstasy symbolised a
dedication to the Supreme, and
thus dance became an
essential part of the puja.
DANCE SEMINAR 1958
Sangeet Natak Akademi
AN ANALYTICAL STUDY
Mohanrao Kalyanpurkar
KATHAK
Kathak is the classical dance form of Northern
India. Though it is prevalent all over this region,
its two main centres are considered to be
Lucknow in Uttar Pradesh and Jaipur in
Rajasthan. Its origins are said to be as old as the
Aryan civilisation of the north, but it is difficult
to say precisely when and how it took its
present form.
In ancient India dance was considered not only
the visual expression of intoxicated energy or
an entertainment for those who wished to be
amused, but an image of the activity of God.
Our artists have identified beauty with the
infinite glory of God; and so the expressions of
beauty have been religious in nature. To dance
is ecstasy symbolised a dedication to the
Supreme, and thus dance became an essential
part of the puja. In Shiva Manas puja, we come
across a shloka:
N> Mm_a`mo`wJ `OZH$ MmXeH$ [Z_b_ &
drUm _o[a _XJ H$m hb H$bm JrV M Z` VWm &
gm>mJ U{V: Vw{Z~h {dmh`oV g_V _`m &
gH$noZ g_{nV_ Vd {d ^ mo nyOm JhmU ^mo &
(2)
Temples became elaborate structures with a
Bir
th ce
nte
nary c
ele
bra
tio
n b
y N
ad
roo
p
Amad:
Amad is a Persian word which means advent or coming. This piece consists of a set pattern of natawari
syllables preceded by a traditionally accepted pakhawaj paran. The following amad was a special
favourite of Shambhu Maharaj. He provided extremely graceful movem