How Indian classical music and dance is fading away?

There is no country as rich as India, in terms of art and culture. It holds its richest possessions deep down the earthly rocks sedimenting so profound that fading away almost brings tears to it.

Ustad Amjad Ali Khan, Dr. Balamuralikrishna, Bhimshen Joshi, Bismillah Khan, Pandit Ravishankar, Zakir Hussain and many more heart wrenching singers have devoted their lives for classical music. The day wouldn’t see a sunrise as bright as their ‘Rewaaz’ (practice). Not only to become a professional, had they worshiped the art so deeply that they could sacrifice their lives for it.

Pandit Birju Maharaj, Mallika Sarabhai, Sonal Maansingh have transcended beyond the fences and socio cultural hindrances to attain and proclaim by becoming the best in the field of classical dance.

The Indian classical dance is often regarded as the form of worship and meditation. The performers of Indian Classical dance, despite of the background and forms have played a crucial role in presenting India to the forefront of the world stage. It has helped in ending the erstwhile artistic isolation.

The classical dance has given off to the hip hop, jazz and salsa dances on the silver screen. The rich dance heritage that was once an integral part of the film world, which had led to the growth of the whole lot of wonderful dancers, musicians and singers, is now fading away from the modern world.

“The generation is changing. People prefer item numbers and not classical dance. Producers just want to earn money so they are more interested in spending on item songs.” says Saroj Khan.

Bosco Ceaser, “It is more to do with the changing story lines where the demand for such dances is less. It won’t make sense to unnecessarily in corporate a semi-classical dance in the film just for the sake of it. They are surely there when required. For example: Devdas, Bajirao Mastani.

The foreign countries respect and adore classical dance much more than what Indians do!

After receiving overwhelming recognition from the audience in Germany, Mayuri Upadhyay was extremely disappointed that her work went unappreciated In her home state Karnataka. Mayuri and Madhuri Upadhayay choreographed a performance of contemporary dance at Hannoner Messe during PM Modi’s visit to Germany. Many members of the largely Indian audience (Diaspora) that they we were proud to be Indians, after watching her team’s performance. But we regret that the case is not the same as far as India- the sole country, is considered.

Kathak- as a classical dance

It inhibits its origins to the nomadic bards of ancient North India, known as Kathakars or Story Tellers.

It absorbed many forms and subtlety from the Persian and Central Asian dance which were imported by the royal courts of the mughal era.

The structure of a conventional kathak performance follows up a progression in tempo from slow to fast, ending with a dramatic climax. A short dance composition is known as the ‘tukda’ and the longer one a ‘tuda’. The exuberant footwork, mostly wearing the 100 pair of ghungrus, is known as the ‘tattkar’, for which the bol goes as ‘Ta Theai theai tatt, aa theai theai tatt’

And the narration for the composition borrowed from the tabla is played as- Dha ge na ti, Na k dhi na.

A popular tukda type is the ‘chakrdhar vala tukra’ – showcasing the signature spins of kathak as they are generally executed on the heel. The spins usually manifest themselves at the end of the tukra, often in large numbers such as 5, 9, 15 or more. These tukras are popular because they are visually exciting and are executed at great speed.

Some of the other compositions:

1. Vandana- meaning prayer, dance item showing devotion

2. Thaat- first composition of a traditional performance, it is the style of standing

3. Aamad- the first introduction of spoken rhythmic pattern or bol into the performance.

4. Salaami- a salutation to the audience

5. Kavitt – narration of the poem through dance.

6. Tihai- usually footwork composition consisting of long set of bols repeated thrice so that the very last bol ends dramatically on ‘sam’ (dha).

Bharatnatyam is the national dance of India, whereas Kathak resides in the soul. There is nothing more divine, pure and beautiful which can define it.

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