Traditional, yet new
K. K. GOPALAKRISHNAN
Dancer Manjari Chaturvedi talks about the philosophy of her art form, Sufi Kathak.
Blend of two styles: But it remains within the format of Kathak.
SUFI Kathak is an art form of recent origin that has stormed the traditional Indian dance stage. It is the result of Delhi-based Kathak exponent, Manjari Chaturvedi's obsession with the mysticism of Sufism.
Sufi Kathak is performed to a wide range of Sufi music — classical, Qawali, Rajasthani Sufi music, Kashmiri Sufi music and Iranian Sufi music. None of these were earlier part of a traditional Kathak recital.
"In an effort to distinguish it from its classical form, I incorporated the charisma of Sufism, the moving meditation, thereby blending both the Hindu and Muslim traditions," explains Chaturvedi. "In fact, Sufi Kathak is a dance in surrender to the Almighty, to His love. It spans from earthly romance of Hindi folk to the evolved Sufi imagery of love; from a beloved in flesh and blood to the abstract presence of the Almighty; from a form to formlessness."
Upbringing
With a professional degree in Kathak from the Kathak Kendra, Lucknow, she was brought up in Lucknow. "I was lucky to have an excellent guru in Pandit Arjun Mishra who taught me the intricacies of traditional Kathak, which later formed the base for my work on Sufi Kathak. Little did I realise then that this would become my life's work," saysManjari.
In Lucknow, she was also exposed to qawali singing, which is an integral part of the culture in north India, especially Lucknow and Delhi.
"The verses of great Sufi poets and its music touched my soul. I gradually started dancing to qawalis as a part of my recitals. Gradually I came in contact with Sufi musicians, thinkers and followers of Sufi saints and tried to understand the strong philosophy of love in Sufi poetry. I also travelled to Central Asia — to Turkmenistan, Kyrgzstan and Uzbekistan — and worked with artists from Tajikistan, Iran, Turkey and Morocco, which enhanced my knowledge of Sufi traditions in those regions. This happened over a decade and Sufi Kathak took shape as a new style," reminisces Manjari.
The difference
In what way is Sufi Kathak different from traditional Kathak? "Kathak was initiated and nurtured in the temple environment and was primarily used as a medium for aradhana (devotion). It has two distinct styles — the devotional temple and the exotic and dazzling Darbari Kathak. The former evolved from the ancient temples of North India to the royal courts of Avadh. Darbari Kathak, or the Court style, originated in cultural ethos of the Mughal period and was gradually transformed into a form that flourished in the Muslim courts. Also it evolved as a form of entertainment moving away from the original idea of being a medium of devotion," she reflects.
Both styles are very different from each other in terms of repertoire, the poetry and even costumes, "but they remain within the format of Kathak. Sufi Kathak is also easily distinguishable by the costume. There are now three acceptable styles in Kathak — temple, Darbari and Sufi," smiles Manjari.
Sufism and dance
"Sufi Kathak has been my work and creation since many years. There is no historical evidence for Sufi Kathak as a term. Nevertheless, there have been Sufi dances at the various Sufi shrines on special days. The great Sufi poet from Punjab, Baba Bulleh Shah, is said to have danced in excitement. It is believed that in the Sufi heritage a tradition of dance in ecstasy existed. There is definite evidence that the whirling dervishes of Turkey were well known Sufi dancers. I strongly feel that Sufi Kathak is not a mechanical dance form that anyone can learn routinely; one has to understand the nuances of the Sufi thought to be able to execute it successfully. I am training some dancers but it will take a few more years before they can dance on stage," she says.
Her attraction for Sufi Kathak began with the magnificent Sufi poetry of the 13th and 14th centuries. "Their complete surrender to the Almighty and their passion when rendered musically has the power to make the listener cry. As a choreographer I was inspired by the serenity of the followers of the Sufi saint and poet Mevlana Rumi, who are known as the whirling dervishes."
While Muzaffar Ali initiated Sufi thought in her, guru Kumudini Lakhia taught Manjari that it was not wrong to open her mind to a wider perspective and inspired her to think beyond the existing repertoire. Protima Bedi was another inspiring force but "I left Nrityagram two days after her death."
What was the response of Kathak exponents to Sufi Kathak? "Initially there was scepticism, as people did not know what to expect. Gradually when the audience began to accept it, other dancers, including senior artists, also perform Sufi items in their concerts," she smiles contentedly.
"Sufi Kathak is new, as it did not exist earlier. But its music, poetic tradition and costumes are almost 600 to 700 years old. Hence Sufi Kathak remains strongly bound to tradition; yet it is new," she affirms.
