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IIC Double Bill Concert & Publications of Mahagami Gurukul
- Manjari Sinha
e-mail: manjari@sinha.com

February 4, 2025

The India International Centre (IIC), Delhi, has regularly showcased young dancers and musicians in their monthly series of 'Double Bill Concerts'. The Double Bill concert of dance held on 28th January 2025 opened with a Kathak performance by Mayukh Bhattacharya from Delhi and a Bharatanatyam recital by Jhinook Mukherjee Sinha from Kolkata at the main, CD Deshmukh Auditorium of the IIC.

Mayukh Bhattacharya
Mayukh Bhattacharya

Mayukh Bhattacharya accompanied on tabla by Zakir Hussain Warsi, on vocal by Shoeb Hasan and on sarangi by Aamir Khan, opened with Surya Vandana. The Sanskrit invocation to Surya Devata with the shloka 'Japa Kusum' recited first like a Mantra Paath based on the sombre swaras of raga Bairagi, and then elaborated upon imaginatively in dance by Mayukh and sung by Shoeb in the same raga, paved the path for the technical aspect of Kathak in slow, medium and fast tempos of Teentala. Opening with Thaat, the 'Khade hone ka Andaaz', Mayukh depicted the elegant stance of Maryada Purushottam Ram and the vivacious demeanour of Krishna adorned with 'mor mukut' (the peacock feather head crown) holding his bansuri to his lips. The remarkable 'Anagat Sam' here, finished accurately, underlined his feel for rhythm.

Mayukh has been learning Kathak since childhood with his passion for dance visible from an early age. He holds a Master's in Kathak from Indira Kala Sangeet Vishwa Vidyalaya, Khairagarh, and was a Gold Medalist in his Sangeet Bhaskar degree in Kathak from Pracheen Kala Kendra, Chandigarh. His performances have received wide appreciation for classicism, lyricism, sensitive abhinaya and crisp footwork. He has performed in various festivals as a repertory member of his late Guru Pt. Birju Maharaj, also for other eminent Gurus all over India. He established his credentials as a solo performer this evening.

The Paran-Aamad 'Dhatak Thunga…', the Ginti ki Tihais in three different laya coming to Sam as Tridhara, the Tisra Gati Paran, a composition especially underlining the Bol 'Thei', the Misra Jati composition 'Tak Thunga Takita Thunga', the Chakkardar Paran with Shiva's Tandav effect, the Farmaishi Tihai with its 'Sam' shown on the 1st, 2nd and the 3rd Dha respectively, the Gat Nikas with Talwar Ki Gat, there was no end of variety offered in slow, medium and the fast tempos of Teentala, concluding with a scintillating Tihai.

The abhinaya that followed the shuddha nritta had a novelty when leaving aside the customary Thumri, Dadra, Ghazal or Bhajan, Mayukh chose the immortal poem written by the poet laureate Rabindranath Tagore, "Where the mind is without fear and head is held high" translated into Hindi "Jahan mann bhaya se mukta ho aur mastak samman se uncha" dedicated to Matribhumi, the motherland! This abhinaya piece opened with an aalap in raga Desh on the sonorous sarangi and Shoeb Hasan reciting the poem for the vachika abhinaya before the sargam set to 'Chanchar Theka' of 14 beats cycle held the rhythmic pace for dance. The sarangi and vocals were commendable whereas the tabla seemed unable to match the crisp parhant of the dancer. This lacuna proved the virtuosity of the dancer, who had to recite the bols himself while dancing, just to prompt the bols to the tabla player.

Jhinook Mukherjee Sinha
Jhinook Mukherjee Sinha

Bharatanatyam by Jhinook Mukherjee Sinha from Kolkata comprised the second half of the Double Bill Concert. Trained under Dr. Thankamani Kutty for the last three decades, Jhinook is a graded dancer of Doordarshan and an empanelled artiste under the Ministry of Culture, Govt. of India who has performed for Indo-Bosnia Cultural Exchange. She has performed in many prominent festivals and the TEDx. Winner of many accolades, she was the lead choreographer for the cultural events held as part of the G20 Summit events held in West Bengal. She was also invited by the Nehru Centre, London for the High Commission of India and has performed widely overseas.

This evening Jhinook impressed the discerning and the lay rasikas alike, with her captivating Bharatanatyam recital comprising an invocation, a detailed treatment of Varnam 'Simhavahini', 'Jagadoddharana' the Purandara Dasa Kriti and a Tillana to conclude with. 'Manikya Veena', the invocatory stotram set in Ragamalika, was in praise of Devi Saraswati, the Goddess of arts, wisdom, knowledge and music. Jhinook beautifully depicted the Devi playing her Manikya Veena studded with precious gems, enticing all with her mystical melodious music. The lyrical grace of the dancer with clean lines and precision made its mark from the very beginning.

The Simhavahini Varnam in ragam Ranjani and talam adi, choreographed by Jhinook herself, celebrated the divine power of Devi Jagaddhatri, one of the many manifestations of Durga, who saves the world from sorrow, misfortune and injustice. The story of Mahishasur and his three transformative forms as buffalo, a lion and an elephant were all defeated by the Devi with her unparalleled strength, in the first part of the Varnam. The second segment traced the story of Rama on his quest to rescue Sita from Lanka, the kingdom of Ravana, guarded by Devi herself. Emboldened by her protection, Ravana underestimates Rama's devotion to Devi, who while performing a Yajna with 108 lotuses, when fell short of one lotus due to Devi's divine trick, offered his right eye in place of the missing lotus. Moved by the devotion of the 'Rajiva Lochana' Rama, Devi permitted him to enter Lanka, signifying the triumph of devotion over obstacles.

The charanams explored multi-dimensional aspects of Devi through the eight forms of Ashtalakshmi where Devi embodies knowledge, wisdom, salvation, boldness, abundance, protection, music and prosperity. Devi is also depicted as Saraswati playing her veena radiating the light of learning and creativity. The concluding charanam unfolds the unison of Shiva and Shakti as Ardhanarishwara, where Omkara resonates through the cosmos. The devotee seeks the blessings of Anandamohini, invoking her repeatedly to rescue the world from turmoil and to bring harmony in the universe, The detailed treatment of the Varnam by the polished performer demonstrated her equal command on both nritta and nritya, Bharatanatyam technique and the depth of abhinaya.

Purandara Dasa's popular Pada Jagadoddharana…. composed in ragam Kapi and adi tala, evoked the essence of vatsalya rasa in the captivating choreography of Leela Samson. Mother Yashoda's innocence in taking the 'Jagadoddharaka' Vishnu who has taken the Dashavataras, to be just her son and not seeing beyond it, is envied for her bliss. Who else has got this kind of Bhagya? The great saviour of the world and destroyer of all evils is playing with Yashoda as her adored son.

Jhinook concluded her mesmerising performance with a befitting finale of a Thillana in raga Brindavani Sarang and talam adi. The dynamic dancer showcased several alluringly picturesque poses and movements in varied rhythmic patterns with graceful elegance. One only wished to see her perform with a live orchestra instead of recorded music.


THE ONLINE LAUNCH OF MAHAGAMI'S TWO IMPORTANT PUBLICATIONS
The release of 'Sarngadeva Sarani: Research Pathways in Shastra and Prayoga,' Volume 1 edited by Parwati Dutta, Director, Mahagami Gurukul (published by Mahagami Arts Research Foundation with support from MGM University, Aurangabad) and 'Musicological Mindscapes,' also edited by Parwati Dutta (published by the Author Publications MGM University, Chhatrapati Sambhaji Nagar) made a perfect preface to the 16th edition of the Sarngadeva Samaroha organised by the Mahagami Gurukul Centre of Performing Arts, Aurangabad.

Book cover of Sarngadeva
Book cover of Sarngadeva

In her preface to 'Sarngadeva Sarani,' the editor Parwati Dutta writes: "Music and Dance as both an art and a discipline invite exploration from a multitude of perspectives, cultural, theoretical, historical and philosophical. This collection of research papers brings together diverse scholarly enquiries into the many facets of music, dance, and ancient texts offering new insights, analyses, and interpretations. The purpose of this volume is not only to present the explorations and the academic studies by researchers and students but to foster a deeper understanding of the role of arts practice and research in shaping human experience and society."

There are twenty-two in-depth articles in English, Hindi, and Marathi on a variety of subjects from the Concept of Samanyabhinaya, Desi Karanas through Odissi Dance etc apart from the articles by Dr Darshana Jhaveri on Prabandhas in Manipuri Dance, Referring to Vaishnava Sangeet Shastra and Sangeet Ratnakar, Reflection on Sthanaka in Sangeet Ratnakar by Shovana Narayan and 'Sangeet Ratnakar Mein Nritya ki Shuddha Paddhati' by Chetna Jyotishi Byohar.

Book cover of Mindscapes
Book cover of Mindscapes

The other book 'Musicological Mindscapes' is also edited by Parwati Dutta who thinks "Music offers an expansive array of pathways for exploration and understanding. Its influence spans various domains including anthropology, sociology, mathematics, design, spirituality, science, aesthetics, and philosophy among others. Each of these perspectives reveals unique insights into the multifaceted nature of music, highlighting its profound impact on both, individual experiences and broader cultural contexts."

The publication compiles the articles and papers on musicology along with the dissertations by the first batch of Musicology students curated and guided by the Mahagami Gurukul Centre of Performing Arts, MGM University. Regarding the background within the study of Musicology, Dr Vilas Sapkal, Vice-Chancellor MGM University believes that, "Such collections are sure to go a long way in enriching our young talents in music appreciation, study and research in the relevant arena. The authors with diverse backgrounds within the study of Musicology have written wonderful papers. Students and teachers engaged in the study of music will certainly benefit from the rich observations presented in this book."

Ankush Rao Kadam, Chancellor of MGM University adds, "We aim to engage students and the wider community in exploring and comprehending performing arts and its profound concepts. The Performing Arts faculty at MGM University is diligently working to create a synergy between the theory and practice of music and dance and a unique course in Musicology is being offered at the Mahagami Gurukul Centre of Performing Arts. This first publication on Musicology, 'Musicological Mindscapes' will certainly be of great interest to readers and learners."


Manjari Sinha
Manjari Sinha is a musicologist and an acclaimed classical music and dance critic. She has an MA in Sanskrit from Allahabad University, MA in Music from Vikram University, Ujjain; Sangeet Prabhakar in Hindustani Vocal, Tabla, Sitar and Kathak dance from Prayag Sangeet Samiti, Allahabad; and further training in Sitar under Guru Pt. Arvind Parikh in the lineage of Ustad Vilayat Khan. She has authored a book on Ustad Bade Ghulam Ali Khan, commissioned & published by Roli Books. She has contributed the chapter on Kathak for 'Indian Dance: the Ultimate Metaphor'. Her articles in English and Hindi on Music, Dance, Art & Culture are regularly showcased in a variety of leading journals and periodicals.



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