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 'Anubhav' - The resonance of experience in dance - Bijoy Shivram e-mail: bijoyshivram@gmail.com Photos courtesy: Anart Foundation June 7, 2025 In the rhythmic heart of Ahmedabad, where parampara flows like an eternal stream and every ghunghroo echoes with ancestral memory, the Anart School of Kathak Dance - helmed by the illustrious naatya-dvandva Ishira Parikh and Maulik Shah, presented its much awaited annual celebration, 'Anubhav'. The Sanskrit word 'Anubhav' transcends the boundaries of its simple translation as 'experience'. It denotes a state of deep, embodied awareness - an inner resonance born not merely of years, but of ekaagrata (focused attention), sammilanam (integration) and prabodha (awakening). This year's celebration stood as a living testament to that essence - of natya not as performance alone, but as sadhana, as lived presence, as communion. From the tender age of seven to the graceful late sixties, a large number of students took to the stage, turning it into a pulsating mandala of movement, memory and bhava. What made 'Anubhav' truly remarkable was not only the saukumaarya - aesthetic delicacy and kaushala - technical finesse, evident in each presentation though both were abundantly present - but the deeply personal, inclusive spirit with which each dancer moved. Each piece was choreographed and curated with manobhaava, reflecting not just the years of rigorous training but also the individual yatra - physical, emotional and spiritual - of every performer.  Shishu Laya A distinguishing hallmark of Anart's pedagogy, sama-dṛiṣhṭi in teaching, was visible throughout the evening. Whether it was nṛitta, nritya, abhinaya, each performance tailored with sensitivity, honouring the body's truth at every avastha. Ishira and Maulik, supported by senior teachers, Kadam Parikh, Raina Parikh, Naisargi Gor, Yesha Bhatt and Jigisha Mehta, brought a rare vision to the training, blending discipline with compassion. Right from the beginning of their journey, students at Anart are made aware of the kaala (time) and aakaasha (space) that shape their dance. Even the antaraala (space) between two footsteps made meaningful - understood through the taala-svara of a clap, a taali that fills the silence between. They learn the sacred geometry of formations: ṛiju-rekha (straight lines), tiryang-rekha (diagonals), maṇḍala patterns, entrances and exits that honour the taala - waiting with reverence for the "Dha dha dhin ta... kita dha tin ta..." before stepping out with graceful restraint.  Vasant  Shyam Sundar The evening unfolded like a journey through the emotional and mythic bhuloka of Indian classical dance. Children opened the celebration with "Vasant Ritu Matawali", joyfully embodying the arrival of spring - blossoms swaying in samyuktahasta, weaving samyuktikas in seamless unison. Adult dancers brought alive the leela of Krishna in group compositions like "Shyam Sundar Madan Mohan" and "Govinda Gopala Hare Murari", where the beloved Murlidhara appeared as kaaliyanartaka, govardhanadhari and rathachaari - the playful divine in manifold forms. The spiritual arc of the evening deepened with pieces like the Tarana in Puriya Kalyani and the meditative "Natavar-Nataraj", set to the Angikam Bhuvanam Yasya shloka, where the cosmic dancer merges with the human form. A compelling rendition of Pancham Ved articulated the sacred truth that dance - naatya - is the panchama veda, encapsulating the essence of Ṛig, Sama, Yajur and Atharva in kinetic wisdom. The pure dance piece Aakar celebrated line, form and movement, executed with lyrical clarity. Parampara, in Teen Taal, set to the soul-stirring vocals of Pt. Neeraj Parikh, was an aradhana to lineage, rendered with strength and elegance.  Hori One of the most poignant moments of 'Anubhav' came with the performance of senior women - many of whom have embraced dance later in life or returned to it after decades. Their portrayal of "Hori - Dekho Holi ke khelaiya" in mukhabhinaya was both moving and luminous. In a delightful jugalbandhi, two groups played Holi with footwork and expressions, their faces lit with the joy of rediscovered rhythm. This was not mere nostalgia; this was anubhav - a rediscovery of one's inner spanda, a celebration of ananda through movement. The musical ensemble brought further depth. Vaibhav Dave's evocative vocals, Rahil Bhatt's textured keyboard and Ajay Solanki's tabla layakari enriched the evening's mood. Padhant by Ishira, Raina and Naisargi added an intimate dimension of vaachika abhinaya. Recorded works of the late Pt. Atul Desai and the versatile Pt. Neeraj Parikh lent weight and gambhirya, especially the rendering of "Chaitanyam Sarvabhutanam..." - an ode to consciousness and the indivisibility of bliss, sound and silence. Aesthetic details meticulously woven in: the lighting design by Parth Raval heightened every mood and movement, while the carefully chosen costumes, in earthy and jewel tones, added a painterly quality to the stage - transforming it into a living canvas of 'Anubhav'. In the end, 'Anubhav' was not merely a showcase. It was a pratignya - a statement of faith. A reminder that dance was never confined to the agile and youthful, but belongs to all who carry bhakti, shraddha and utsaaha. Ishira and Maulik's rare sensitivity to the dancer's body - and more so to the dancer's spirit - made space for every performer to shine, to belong and to revel in joy. Here, rasikas and sadhakas met. Here, memory danced with presence. In addition, here, art became a shared, collective 'Anubhav' - not just experience, but anubhuti - the resonance of being. For the gurus who teach with vision and compassion, to the siṣhyas who dance with niṣṭha - Kathak stands firmly rooted in the city of Ahmedabad. Gracefully evolving. Ever relevant. Forever resonant.  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. |
