Inspiration through form

Manjari Sinha | New Delhi | May 3, 2017 | The Statesman

The World Dance Day (WDD), which falls on 29 April, is celebrated world over with great enthusiasm. This year the celebrations started a week earlier when the Mahagami Gurukul Aurangabad organised a two-day festival on this occasion, conceived and curated by Guru Parwati Dutta.

The inaugural evening featured Parvati Dutta in a solo performance Varnaja. The unique and original idea of the talented dancer choreographer Parwati, juxtaposed calligraphy and Kathak, creating calligraphic images that came alive through Kathak. The Varna, or alphabets of the calligraphy, were organised in the conventional repertoire of Kathak, opening with“Akshar Dhyan”, an invocation to the primordial sound “Naad”,from which the universe is said to have originated. This exploration of Aakar,or form, was based on the Maheshwar Sutra produced by Shiva Damru, comprising the 14 Varnas, when Shiva performed the cosmic dance.

Shabda-Roop,the written form, underlined the metaphysical (Adhyatmic),aesthetic (Saundarya),structural (Rachana), spatial (Akasha), temporal (Kaal) and technical (Upayojana) of the Varna for creativity in dance, music and the calligraphy. Parvati explored the possibilities of patterns in space and time through movements in this abstract piece, equating the Naad-Shabda-Laya of dance with the Bindu-Rekha-Aakar and Kalpana (imagination) in calligraphy. “Om-Allah” next underlined Kathak as a secular art form. “Aakar” had the delicate “Gat-Nikas”, creating the imagery of the calligraphic panels Parwati moved through. The concluding “Shabda-Dhyan” completed the journey to spiritual destination of both the dance and the calligraphy. The thoughtfully composed music, the competent live orchestra and light design for each and every item enhanced the beauty of Varnaja, an admirable expression of sound, idea and inspiration through form.

Pravaahi, next evening, comprised three group choreographies in Kathak, namely Ajara,Vaari and Vegini, evoking the flow of the river in Ajara, the immortal Saraswati and Vegini. Vaari, which also means water, underlined the “pilgrimage beyond self” through the devotional wave or the BhaktiPravaah of the Vaarikari Sampraday, inspired by the devotional poetry of Sant Jnaneshwar. The multi-hued dance sequences, based on myriad musical treasures, from Abhanga to the folk music of Maharashtra, took the audience through the multilayered and multidimensional interpretation of the poetry. The authentic music and costumes enlivened the imaginative choreography. Both Varnaja and Pravaahi deserve to be seen by the dance lovers and connoisseurs outside Aurangabad as well.

Speaking of seekers

Parwati Dutta brings Mahagami Gurukul's festival dedicated to Sharngadev to New Delhi this week.

Anjana Rajan | FEBRUARY 25, 2016 | The Hindu

There are those who insist Delhi is 'the' place to be when it comes to success in the Indian arts. Parwati Dutta thought differently. Though her pursuit of dance brought her from Bhopal to New Delhi, it once again took her far from the hustle and bustle of the Capital when she decided to spread her wings.

Trained in Kathak as a child in Madhya Pradesh from various gurus including Pandit Kartik Ram, among the last artists of the 'Darbar kaal' at the Raigarh court, Parwati had gone on to enrol at New Delhi's Kathak Kendra and also taken further training under Pandit Birju Maharaj. She learnt Odissi from Guru Madhavi Mudgal and later from Guru Kelucharan Mohapatra. Then, some two decades ago, having performed and taught in various institutions and worked at thr prestigious Indira Gandhi National Centre for the Arts, Parwati decided to take her talents someplace where people never expected to need them. That's how she ended up in Aurangabad in Maharashtra. On the tourist map for its proximity to the caves of Ellora and Ajanta, as well as for its Bibi ka Maqbara, Aurangabad is, like many of India's places of interest, seemingly oblivious to its own rich history. This is where Parwati founded the Mahagami Gurukul, now known for its research and social outreach activities besides regular classes, camps and choreographic works. Among its major projects are the Sharngadev Samaroh and Prasang, dedicated to the 13th Century author of the Sanskrit text on music and related arts, the Sangeeta Ratnakara. The festival, now in its seventh year, comes to New Delhi for the first time. Comprising paper presentations, workshops and performances, the event also marks the 20th anniversary of Mahagami (an acronym for Mahatma Gandhi Mission).

The seminar (Prasang) aspect takes place this weekend at the Gandharva Mahavidyalaya, while performances (Samaroh) will be on Monday and Tuesday at the India Habitat Centre. Here Parwati talks about the aim of the festival and her own journey.

Edited excerpts:

How did the concept of the Sharngadev Samaroh materialise?

At Mahagami, we have attempted many other projects and events. A monthly Baithak series named Sahridaya, the Drishtikon lecture series, Aura-Aurangabad cultural tourism initiative, Sahachar inter-disciplinary workshop, Sadhana gurukul camp, etc., each aimed to address different areas of artistic development. While teaching and educating and informing the society remains our prime objective, there is a paucity of adequate resources developed through research. Sangeeta Ratnakara is considered one of the most important granthas after the Natya Shastra. It was written at a time when art forms were woven in a common thread despite diverse expressions in regional variations. Sharngadev integrates the technical aspects with the physiological, philosophical, artistic and aesthetic approach. Unlike Abhinaya Darpana and a few other texts that mainly deal with the movement vocabulary, Sangeeta Ratnakara ignites one's mind towards the innate expressions of the body and underlying possibilities. Sangeeta Ratnakara studies were initiated by Dr. Premlata Sharma in the late 1980s and early '90s, which is known to the researchers. I am glad that I could initiate a journey in this direction with an aim to establish a dialogue between the written, oral and practising traditions and finding a relevance of Sangeeta Ratnakara through the Sharngadev Samaroh. One more important discovery for me was the fact that Sharngadev lived in Aurangabad region where he composed Sangeeta Ratnakara in the 13th Century.

What has been the response from the non-dance/music knowing audience?

The response has grown over years. I try to initiate a discussion with students, their families and others who come in the folds of our various activities about our heritage and things that should be preserved and nurtured. The exercise leads to a kind of sensitisation, and an interesting dialogue emerges over time. I am overwhelmed to see the involvement of artists and seekers from other cities also who join us in our outreach activities as participants and even just as observers.

What in your opinion is the importance of the old treatises to today's practising dancers, and to the informed audience?

There are many concepts and deep thoughts that are written in the texts in concise form or in the form of riddles. Reading these evokes imagination and nurtures the intuitive mind, thus allowing the reader to unfold its manifold meanings. Based on one's knowledge of the art forms, 'sanskaar' and intellectual capacity, an artist can find its relevance. The aim should not be to immediately interpret it and perform. Some theories after understanding and realising are assimilated just to remain as an important dimension of the artist's vision. In that context too, these texts play an important role in the artistic evolution of a performer, which will certainly lead to the cultural development of the audience.

Who and which books have guided your study of texts such as the Sangeeta Ratnakara, etc.?

I was introduced to Sangeeta Ratnakara through an English translation by Dr. Premlata Sharma and R. K. Shringy and later a Marathi translation by Dr. G.H. Tarlekar. Not all chapters have been translated in the book. The text needs to be explored through different perspectives too. We don't come across much published work on Sangeeta Ratnakara. Vadya Adhyay, Taaladhyay and Nartana Adhyay [chapters on instrument classification, types of talas and dance and the rasas] have not been explored much compared to the scope of the text. Other than the shastras, I have adored all writings of Dr. S.K. Saxena, Dr. Kapila Vatsyayan.

Was Aurangabad your original base?

I was in Delhi before moving to Aurangabad. I worked for a while as a freelancer, performing, teaching Kathak and Odissi at institutions and as a research assistant at Indira Gandhi National Center for the Arts. I was keen to start a new journey, preferably in a marginalised place where I could explore many more possibilities with arts and our cultural heritage. Aurangabad city was not known to me and I had never been here before. The city is named after Mughal Emperor Aurangazeb who was known to have banned music and artistic activities.

So you simply selected an unknown town, like an adventure?

Yes! There was a request from a local educational trust to start a dance activity here. I thought of making it bigger. Gradually the institution evolved as a gurukul with many other activities. Mahagami Gurukul was founded in a barren stretch of land in 1996 with a humble aim... to create a cultural awakening and to produce some refined artists and art-lovers from this region.

A Contemporary Gurukul

Leela Venkataraman

MAY 09, 2013 | The Hindu

Mahagami (Mahatma Gandhi Mission Sangeet Academy) Aurangabad is a world in itself where the best of the value-based gurukul system of art training vibes harmoniously with modern technological aids in helping promote, disseminate and conduct research in the arts. Most imaginatively conceived and led by the tireless zeal and enterprise of director Parwati Dutta, a Kathak/Odissi dancer, disciple of Pandit Birju Maharaj, Kelucharan Mohapatra and Madhavi Mudgal, and powered by the management of Mahatma Gandhi Mission Trust, a charitable and educational organisation, the entire space of Mahagami with its cosy cottages provides comfortable accommodation spaces, an aesthetically designed Sadhanalaya with large mirrors, audio systems, instruments, a library of precious books, a Baithak Sangraha, Dyavaprithvi an open air stage seating 350 people, ‘Parnakuti’ its dining cottage and not the least ‘Kriti-Kon’ an “out-let store catering to the academic, aesthetic and artistic needs of students and art lovers.”

In diligently interweaving learning and research in music (with special emphasis on Dhrupad) and the pakhawaj, dance, and other support disciplines like photography, and lighting, Mahagami activities since its establishment in 1993 have followed the inter-disciplinary approach, which forms the very basis of our classical arts. Above all the organisation has also been intensely involved in informing, educating and helping create discerning audiences, its outreach programmes of ‘Anubhuti’ having covered over a lakh of people so far.

For Parwati Dutta, the karmabhumi of Mahagami, with the magnificence of cave sculptures and paintings at Ellora and Ajanta, the Devgiri Fort bringing back memories of Sharangadev (13th century), the author of the Sangeet Ratnakara, who lived in the court of King Singhana, the Yadava dynasty ruler with his capital at Devagiri (present day Daulatabad), along with the great saint poets who lived here, speaks eloquently of the 1000 year art consciousness and contribution of this region.

Parwati with her disciples presented a programme in the open-air theatre the evening before the Art Writing event organised by Mahagami. The very opening on “Barah Jyotir ling paran” , (the Hrishneswar Jyotir Ling temple is a famous pilgrim centre) revealed deep research from working closely with Dhrupad and pakhawaj maestros — with events like Alakshita having been hosted for pakhawaj documentation under the Sancheya Project, and ‘Kan’ delving into Dhrupad music for Kathak. The parans built round the pakhawaj prastaar with the Chautal tihai at the finish, done by the group with involvement and perfect technique made a fine invocation. Parwati’s solo was based on Padmakar’s poetry, the picture on the morning after Holi, with the telltale marks on the gopis of Vrindavan of having danced with Krishna “Bhaag bharat bhala, Suhag bhare sab ang” followed by the disciples presenting Vasant Ritu, where the beauty of Nature and the view of the gajagamini-s and hamsagamini-s, and the arrival of Kamadev (set in Surtal) with his panchabana (five flower arrows) was visualised with aesthetic restraint. After the group presented a tarana in Keerwani (composed by Birju Maharaj), “Varna Reeti” was yet another highly introspective composition. built round the pakhawaj syllable Dhaan (which Birju Maharaj Parwati’s guru had said stood for ‘Dhyaan’ or meditation), and ‘Din’. Through the movements and footwork, the meditative quality was preserved. Equally commendable were the clarity and well informed introductions of the Hindi compere, Vrishal Deshpande.

After this came a most entertaining Gotipua presentation by young boys of Nakshatra Gurukul, who, after all the Bandha Nrutya display, rose to the occasion to oblige a fan’s request with an unrehearsed Odiya song “Dekho go Radha Madhavi Chali”. True to the thoroughness with which Mahagami undertakes each venture, it was heartening to see young journalists from various dailies who attended the Art Writing event and persons like Prasenajit, Shyamal Ingle, Asha Deshpande spoke of their early impressions, some of them writing and reading out what had been written. While senior journalists talked about their experiences, and aspects of writing aspirants need to pay attention to, young journalist Ranjana from Mumbai spoke with commitment on the need to change ways of writing on art — so as to attract young people to this discipline. One would have liked more active interventions from the young aspirants, still timid in voicing their innermost thoughts. But most encouraging were management personnel from dailies like Mr. Pande of Divya Marathi, and Ramesh Bhonsle of Dainik Lokpatra who readily came forward in support of art coverage. Grooming writers for art events is yet another of Mahagami’s efforts at working to provide the right support structure for dance and music. It was also interesting to see what Mahagami had designed as video material, using software, for dance education This is an institution about whose serious work so little is known outside. Mahagami should be strengthened and supported by Cultural Affairs Ministry grants, which so far have eluded this institution. Sad!