On 4 and 5 October, 2024, DakshinaChitra Heritage Museum, in collaboration with Kathak dancer Swati Potulwar, hosted Anubhav, a two-day intensive Kathak workshop. The event attracted participants from various skill levels, all eager to explore the rich cultural heritage of Kathak.

Held at the serene DakshinaChitra Heritage Museum in Muttukadu, the workshop consisted of two sessions each day, offering participants an immersive experience in the intricate rhythms, footwork, and expressive storytelling that Kathak is known for.

Swati Potulwar, a disciple of guru Prerana Deshpande and a well-known practitioner of the classical dance form, guided attendees through the nuances of Kathak. Her approach provided participants with a deeper understanding of the historical and cultural significance of the dance, enriching their connection to India's artistic legacy.

Participant Experiences

Day One

The first day of the workshop introduced us to a musical piece called Sargam, which we learned with great enthusiasm. Sargam is one of those quintessential Kathak compositions that highlights the beauty of rhythm and melody combined. Learning this composition alongside my daughter Praghnya was a particularly rewarding experience. The joy on her face, as she grasped the nuances of the movements and rhythm, was a proud moment for me as both a mother and a fellow dancer.

Another composition we learned was Parmelu. This piece, drawing inspiration from birds and nature, brought an element of playfulness and grace to the dance. Through this composition, Swati Potulwar taught us how to express ourselves without inhibitions, mimicking the fluidity and lightness of birds in our movements. It was a delightful way to explore the natural world through dance. The continuous movement, precision of footwork, and need to stay attentive to the rhythm and beat increased our mental and physical stamina.

As a parent, seeing how the workshop positively impacted my daughter was one of the highlights of my experience. She started the day excited yet a bit nervous. However, as we progressed through the compositions, I noticed a shift in her demeanor—she became focused, attentive, and confident. By the end of the first day, she was eager to continue learning, which was gratifying.

T. Preethi
R&D Head and Scientist, Chennai

Day Two

The second day began at 9:30 a.m. with a practice session that lasted until 1:00 p.m. The tranquil and culturally rich ambiance of DakshinaChitra provided the perfect backdrop for the session. We started with an intensive warm-up focusing on foundational Kathak techniques—hastaks, chakkars, thodas, and tihais. The atmosphere was charged with enthusiasm as dancers, from beginners to advanced students, practiced in sync with one another.

After the initial session, we were divided into two groups. The senior students concentrated on intricate rhythms set to teental, jhaptaal, and dhamar, while the beginners focused on teental and learning the piece based on sargam, which was both challenging and rewarding.

Post-lunch, we attended an insightful lecture by journalist Janaki Srinivasan, where she discussed the diverse forms of Indian classical dances, intertwining their history, aesthetics, and the urgent need for cultural preservation. What stood out was her exploration of the challenges facing these dance forms today. She emphasised how rapid modernisation and commercialisation threaten the integrity of classical dance traditions. The emotional tone of the talk heightened as she shared personal anecdotes from dancers and gurus who have dedicated their lives to mastering and teaching these art forms.

The evening performances brought the day to a wonderful conclusion. The performance commenced with a graceful vandana by Swati Potulwar, invoking Goddess Durga in honor of Navaratri. Following the vandana, the first-year students showcased their learnings. Their simple yet elegant movements embodied the essence of Kathak's foundational vocabulary. This was followed by a demonstration by the senior students, which included intricate chakkradar parans, thodas, and tihais. The highlight of the evening was a solo performance by Gautami, who performed a traditional sequence in taal Roopak. Her sequence included uthaan, thaat, aamad, paran, and a few expertly executed tihais.

Swati Potulwar then took the stage, showcasing the subtle aspect of thaat—a delicate and nuanced element in Kathak. She followed this with a rendition of a thumri, Sab ban than Aayi (raga Hamir), composed by Bindadin Maharaj, emphasising abhinaya. To conclude her performance, she presented, Tirth Vittal kshetra Vittal, an abhang composed by Saint Namdev, immersing the audience in the divine essence of bhakti rasa. The performance was ably accompanied by Ram Khadse, a disciple of Pt. Nayan Ghosh, on the tabla, and Sourabh Naik, a disciple of Ulhas Kashalkar, on the vocals and harmonium, creating a perfect balance of music for the dancers.

The two-day workshop provided participants with hands-on learning, allowing them to develop their skills in the traditional setting of DakshinaChitra, known for its dedication to showcasing India’s living cultural heritage. The combination of the venue’s ambiance and the intensity of the workshop created a profound learning environment. 

Gopika
Student, New Delhi