July 16, 2023 | Ernst Cultural Center

Lasya Kathak Dance Academy Presents

Lasya Kathak Dance Academy PresentsLasya Kathak Dance Academy PresentsLasya Kathak Dance Academy Presents

Lasya Kathak Dance Academy Presents

Lasya Kathak Dance Academy PresentsLasya Kathak Dance Academy PresentsLasya Kathak Dance Academy Presents
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  • Purvi_B
  • Tara_N
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  • Shubhashish_M
  • Shreyas_R
  • Sambarta_R
  • Anirudh_C
  • Aalap_K
  • Shimaliya_A

story

rhythm

math

melody

intricate

power

grace

expression

poetry


KATHAK.



Akanksha & Tara's Rangmanch Pravesh

Akanksha & Tara's Rangmanch PraveshAkanksha & Tara's Rangmanch PraveshAkanksha & Tara's Rangmanch Pravesh

story

rhythm

math

melody

intricate

power

grace

expression

poetry


KATHAK.



Akanksha & Tara's Rangmanch Pravesh

Akanksha & Tara's Rangmanch PraveshAkanksha & Tara's Rangmanch PraveshAkanksha & Tara's Rangmanch Pravesh

Kathak… the dance of storyteller

 The dance gets its name from the Sanskrit word “Katha” which means “story,” or “traditional tale.” Kathak is one of the 8 Indian Classical Dance forms which originated in North India. The dance form was a channel for Kathakars or “the story tellers” to narrate mythological stories. During the Bhakti movement Kathak took the form of reverence for Lord Krishna. Patronage of Mughal rulers like Akbar evolved Kathak to a dance of grandeur. Vibrant costumes and jewelry, intricate compositions that used fast spins and delicate body movements are a reflection of the Persion influence on the dance. The modern day Kathak is a balance of temple and court traditions. Like many other dance forms, the earliest performers were men and gradually  more women began to learn and perform. The typical dance repertoire showcases the masculine (Tandav) and feminine (Lasya) aspects of dance, regardless of the gender of the dancer. 

Rangmanch Pravesh… the permission to present

 Traditionally, the event marks the beginning of the journey of the Kathak student as a professional dancer. After years of Sadhana (acquiring the knowledge, practicing it and absorbing the essence), the student is deemed ready to go out into the world as a dancer. The repertoire showcases the mastery in nritta, the dance skills and understanding of the nuances of abhinaya, the acting aspect of Kathak. 

Kathakas and the Accompanists

Akanksha Tibrewala

Akanksha Tibrewala

Akanksha Tibrewala

Kathakar

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Tara Nair

Akanksha Tibrewala

Akanksha Tibrewala

Kathakar

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Purvi Bhatt

Akanksha Tibrewala

Shubhashish Mukherjee

Artistic Director - LKDA

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Shubhashish Mukherjee

Shubhashish Mukherjee

Shubhashish Mukherjee

Vocalist - Hindustani Classical

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Shreyas Ravi

Shubhashish Mukherjee

Aalap Kohojkar

On Harmonium

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Aalap Kohojkar

Shubhashish Mukherjee

Aalap Kohojkar

On Flute

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Anirudh Alva Changkajoti

Anirudh Alva Changkajoti

Anirudh Alva Changkajoti

On Tabla

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Sambarta Rakshit

Anirudh Alva Changkajoti

Anirudh Alva Changkajoti

On Sitar

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Shimaliya Agnihotri

Anirudh Alva Changkajoti

Shimaliya Agnihotri

Master of Ceremonies

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Repertoire for the Evening

Kaali Stuti

 We seek the blessings of Maa Kaali, the goddess of power and righteousness through this invocatory piece.  


 Raag : Shankara 

 Taal :  Manthika (13 beat)

Choreography : Smt. Purvi Bhatt

Taal Dhamaar

Dhamaar is a 14 beat rhythmic cycle. This piece showcases a typical Kathak taal repertoire highlighting the Nritta (pure dance) aspect of Kathak. Traditional compositions like Thaat, Paanchpalli, Paran, Kavit, and Tihai are performed to both Tabla and Pakhawaj syllables. The lehera has been composed in Raag Jog. 


Palna ke Pad

Haveli Sangeet is a Dhrupad based form of Hindustani Classical music which originated in the mansions of the city of Braj in North India. The devotional renditions are sung all throughout the day to coincide with each activity of Lord Krishna. Through this traditional Haveli composition, the dancer will present an episode from Krishna Bal Leela, portraying the characters of Shree Krishna, Yashoda, and a Gopi. 


Raag : Kaafi

Taal : Deepchandi

Choreography : Pta Maneesha Sathe

Megh

The Nritta (pure dance) aspect of Kathak marries the Abhinaya (expressional) aspect to depict the human relationship to the rains. The dancers will portray the joy experienced when thunderous clouds give into blissful rain, after a long spell of heat. 


Raag : Megh

Taal : EkTaal (12 beats)

Choreography : Smt. Purvi Bhatt 

Jataayu Moksham

A tribute to the storytelling origins of Kathak, this piece is an enactment of an episode from the Ramayan in which Jataayu attempts to foil Sita haran. The dancer portrays the characters of Shri Ram, Lakshman, Goddess Sita, Ravana, Maarichh, Srupnakha and Jataayu to relay the story of deceit, courage, and gratitude. 


Raag :  Rageshri, Aasavari, Malkauns, Sohani and Jaunpuri

Taal : Teen Taal (16 beat)

Choreography : Pta Maneesha Sathe

Soil : the Soul of Earth

 This contemporary piece illustrates the detriments of humans on soil and the importance of soil in human life. The piece also highlights modern instruments combined with traditional Kathak instruments. 


Choreography : Smt. Purvi Bhatt

Taraana

 

Taraana is a traditional composition of Hindustani classical music that uses syllables instead of lyrics to deliver a melody. In its dance form, a taraana becomes an amalgamation of spirit and power of Kathak. 


Raag : Bhairavi

Taal : Teen Taal (16 beat)

Choreography : Smt. Purvi Bhatt

Akanksha and Tara's Rangmanch Pravesh

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LASYA KATHAK DANCE ACADEMY