Performance at Vishal Krishna Sangeet Academy. Photo Credit: K. Pitchhumani

It was a pleasant afternoon of subtle artistry with Gopi Krishna, grandson and famous choreographer Gopi Krishna, the grandson of the Vast Krishna, the Kathak dancer of the Banaras Gharana, the mythical Kathak dancer Sitara Devvi.

In the opening Anand Tandava (Bairagi, tental, Tulsidas), there was a delicate shaking palm in the form of Shiva, which depicted a shifting snake around the neck. Grace is important in the wrist, but it felt as if the elegance was correct to his fingers.

The footwork was also finely accurately accurate, mainly the sounds coming from the movement of the heel. From a distance, someone could think that he was not doing any impression. She is not accustomed to do it in front of the mike, and the sound is sometimes lost behind the stage. With Mike, the correct time is clear. Chakkars – with a leg lift as he turns around – all were to see.

In the 16-beat tental in the delays and druts letters, Vishal performed at a slow and fast pace, including the delay in various matra and Thaat in Tihis. A repetitive Lehra in Yemen was poetic. The ghat was Bhava, where the dancer mimics people and animals with minimal gestures, but it was shown more detailed in the latter drut traditional Kathak, with separate walks and gat niches presented in the tental. Were.

We do not see this much nowadays – a shy woman, a snail, Krishna, Radha and peacock with songs in Gat Bhava, showing light, water drops and peacocks open their plums, which is so beautiful with Lehra They flow and move. This subtlety is the essence of Kathak.

Vishal Krishna demonstrated the beauty of the traditional characteristics of Kathak. Photo Credit: K. Pitchhumani

The acting piece ‘Bhogat Shyam Kurn Turi’ (Surdas) was a delightful decoration when Krishna and Radha first sees each other by Yamuna. Composed by PT. Mukul Shivputra and PT. Mishra Pilu was conceived by Madhup Mudgal and Madhavi Mudgal, it captured the fragility of the moment and the quiet promise of their relationship. It glows huge.

Interestingly, Vishal danced on a brass plate – the subtlely stressed the sharp tap on the soft beat. This was in addition to the list of Banaras performances by his grand-aunt Alakanand Devi.

Recorded music, especially an interactive dance form such as Kathak, is not a great idea. But the music here was of such a high order, it did not make any difference.