Laxminarayan Jena tells the story of Kathak through her dance

Demonstration of Laxminarayan Jena in the drama festival of the building. Photo Credit: M. Shrinath

Kathak is often considered as a combination of vibrant footwork and chakar by the uninterrupted viewer. A recent demonstration by Laxminarayan Jena for Bharatiya Vidya Bhavan Natya Vizha highlighted the development of Kathak from the plot tradition to its present avatar. Attractive information on each item, shared by his guru Mysore Nagaraj with felicity, and honest presentation by the dancer made this performance a rich experience.

‘Damaru Hara Kara Baje’ was an Ode for Shiva, a dynamic composition in the Dhrupad style in Raga Gunakali. The powerful movements of Shiva were mixed with a brief depiction of two episodes – the emergence of the poison and the Panchabhutas. Laxmirayan’s footwork was marked by clarity while the movement was energetic.

The performance of Laxminarayan Jena highlighted both the expressions of Kathak and Narata. , Photo Credit: M. Shrinath

After this Bhava Paksha came. “Radha Bhava Anubhav” talked about Radha’s emotional crisis as she wait for Krishna’s arrival and when she fails to understand her feelings. She says, “You will understand my feelings only when you Radha Become “. Krishna beautified himself in his dress, understands his feelings and goes in search of Radha. The dancer easily transitioned the man with a man, and a man easily infection, and a one to communicate the role of reversing the role. The use of the scarf was beautifully seen.

Currently lumbar performance takes a rhythm and detects several nuances of it. Here, the dancer chose a bounder-a well knit, structured composition, which was not giving any route to expansion, for the Nriti Paksha section. Revealed by Maya Rao by the Shambu Maharaj tradition, this Prabhanha Raga was in Khamaj.

Amar Ghazal by Farida Khanum, ‘Aaj Jaane Ki Zid Na Karo’, was taken to show how the dance style could accommodate diverse poetic expressions. Lakshminarayan chose to portray the feelings of a couple in love, but their view did not catch the beauty of the song. Slow speed and acute expression would have helped.

In the raga Jhinjoti, Tarana was marked by Sinkroni between footwork and tabla bols. And, Guru Mysore Nagraj shared a general knowledge, when Aamir Khusro was asked to make something similar to a Prabhanha, Tarana was the result of a music composition that emerged from the compilation of the names of Allah.