|     |
|
| |
 'Sopan': An evening of ascent - Bijoy Shivram e-mail: bijoyshivram@gmail.com Photos courtesy: Anart Foundation April 27, 2025 There is a tender beauty in beginnings. In the soft courage, it takes to step onto a stage not merely to perform, but to grow. Sopan - meaning "a flight of steps" - is not just a title, but a metaphor for this very journey, a philosophical and artistic initiative by the Anart Foundation, Ahmedabad, led by the distinguished Kathak duo Ishira Parikh and Maulik Shah. With decades of excellence in performance, pedagogy and curation, the two have nurtured generations of dancers and envisioned Anart as a space where heritage breathes and evolves. Sopan is their latest platform - a thoughtfully crafted series for young soloists to take their first significant steps into the world of classical dance performance. This was not a formal stage show, but an intimate baithak - the kind of setting where art speaks softly, directly and truthfully. The atmosphere allowed not only performance but also reflection, feedback and dialogue - elements so crucial to a dancer's growth. Before the featured solos began, the evening opened with three budding dancers from Anart - Pankhi Brahmbhatt, Pari Brahmbhatt and Noah Damer - presenting a serene Ram Bhajan, set to a recorded track by the versatile Pt. Neeraj Parikh. This simple and sincere invocation set the tone for the evening: reverent, rooted and full of promise.  Yesha Bhatt Yesha Bhatt took the first solo of the evening, beginning her performance in Taal Dhamaar (14 matras). Her approach was poised and quietly powerful. She commenced with an upaj of intricate footwork - allowing her to explore spontaneous rhythmic exchanges with the tabla. In a memorable moment, she chose to redo a phrase that faltered slightly, embracing a moment of imperfection with grace and honesty - a true reflection of Sopan's spirit. Her presentation featured complex tishra jaati tihais, rhythmic permutations in three-syllable patterns and a vigorous paran. The dugun (double-speed) section displayed crisp footwork in varying matras, revealing a strong sense of layakari. She concluded with beautifully controlled chakkars, invoking the signature spinning energy of Kathak, both dynamic and precise. Naisargi Gor followed with a solo in Jayat Taal (13 matras), an unconventional and asymmetric rhythmic cycle that demands internalized rhythm and acute control. From the first beat, Naisargi radiated a striking sense of confidence and command. Her thaat was assertive yet elegant and the amad and uthan held drama and weight. She handled complex tihai structures - including one with an ank of 8 - with fluidity and clear articulation. Her phrasing of "kita ta tha ga di gina tha" was not only rhythmically strong but also aesthetically shaped with nuanced chalan and clean chakkars. What impressed was not just her technique, but also the energy and presence she brought to the space - assured, grounded and mature beyond her years. Transitioning from nritta to nritya, the dancers explored the emotional landscapes of the nayikas, interpreting poetry through gesture and expression through two brisk and short abhinaya pieces. Yesha portrayed the Khandita Nayika in "Kahe ko mere ghar aaye ho", a poignant thumri by Pt. Bindadin Maharaj. Her portrayal was layered with the anguish of betrayal and the tenderness of lingering love. With minimal yet precise gestures, she recreated the quiet ritual of a woman preparing for a long-awaited reunion - the lighting of a lamp, the anticipation at the sound of chariot wheels - only to be crushed by the sight of a beloved who arrives too late, from another's arms. The door she closes in fury is opened again by the heart's rebellion, a nuanced portrayal indeed.  Naisargi Gor Naisargi Gor, in contrast, became the Mugdha Nayika, caught in the mischief of Krishna's ceaseless teasing. Set in a lilting Dadra, the composition "Shyam Murari roko na" allowed her to bring forth a playful emotive vocabulary. As Krishna breaks her pot, twists her wrist, and leaves her flustered in public view, the nayika's outrage is delightfully deceptive. Beneath her complaints, the audience could sense her delight - a hallmark of sanchari bhavas used with restraint and charm. The evening concluded with a vibrant jugalbandi featuring all five dancers - a rhythmic interplay between dancers and musicians. This segment tested their taal awareness, synchronization and group dynamics and served as a fitting finale to an evening built on the idea of ascent - of moving one step higher with every beat, every chakkar, every mistake embraced and transcended. They were beautifully supported by Vaibhav Dave on vocals and harmonium, Ajay Solanki and Maulik Shah on tabla, and Kadam Parikh on padhant. The synergy between dancers and musicians was seamless - intuitive, responsive, and alive. Behind every confident young dancer is a pair of eyes that see their potential long before the world does. Ishira Parikh and Maulik Shah, with their quiet persistence and vision, continue to shape spaces where dancers can grow organically - with rigor, reflection and joy. Through Anart Foundation, they have not only preserved the legacy of Kathak but have made it accessible, relevant and full of life. Initiatives like Rasik Sabha and Sopan are testament to their deep commitment to nurturing soloists - to help them climb with courage, one step at a time. Yesha Bhatt and Naisargi Gor did more than perform - they revealed themselves. In their technique, their slips, their recoveries, their ras and abhinaya, they embodied what Sopan truly is: not just steps to go higher, but to go deeper - into one's own art, intent and inner rhythm. As they step ahead in their journey, Sopan will remain a memory, a milestone and most importantly - a mirror.  Son of journalists K Shivram and Amni Shivram, the first Malayali woman English journalist, Bijoy Shivram is an accomplished Indian classical dancer trained in Bharatanatyam and Kuchipudi. A passionate promoter of the arts and a skilled graphic designer, he currently serves as the Vice Principal of JG College of Performing Arts and the Assistant Director (Operations) overseeing 17 JG colleges. He is also the founder of Preksha, an organization dedicated to the promotion of art and culture in Ahmedabad. Since 2020, Bijoy has curated the YouTube series 'Gurudakshina - An Ode to our Gurus,' celebrating the legacy of mentorship and tradition. |
