Latest news with #JaipurGharana


Hans India
3 days ago
- Entertainment
- Hans India
Carrying forward a legacy
From the vibrant town of Gaon Badabar in Churu to global stages across Rome, Bangkok, and Beijing, Sanjeet Gangani, eminent Kathak exponent of the Jaipur Gharana, has embraced his lineage not as a burden, but as a sacred calling. A third-generation dancer from a legendary family of percussionists and performers, Sanjeet grew up in a home alive with the pulse of tabla, pakhawaj, and ghungroos. His journey is not just one of talent—it is a lived inheritance of rhythm, devotion, and tradition. 'From a very young age, I was surrounded by the rhythms of dance and music,' he recalls. 'It never felt like a choice—it was simply my life path.' With icons like his father and guru, Pt. Rajendra Gangani, and inspiration from stalwarts like Sitara Devi and Maharaj Ji, Sanjeet was immersed in Kathak's energy long before he stepped on stage. He vividly remembers watching his father rehearse for hours. 'Every day was different—new chakkars, fresh layakari. Watching him choreograph was a masterclass in creativity,' Sanjeet says. 'That had a profound impact on me. Kathak isn't something I chose—it embraced me. It flows through my veins like breath.' Growing up in such an environment, rhythm wasn't just practice—it was life. 'Our home is filled with music from morning to night. Even my mother recites compositions while cooking,' he laughs. 'Kathak isn't something we do—it's who we are.' Rather than being weighed down by legacy, Sanjeet draws strength from it. 'When you're connected to your roots, there is no weight to bear—only balance,' he says. 'I strive to honour the tradition while letting my own voice take shape within it.' His artistic voice has grown more distinct over the years. 'Your real style begins to emerge when the soul and body become one,' he says. 'Even if you repeat the same composition a hundred times, your perception changes—and so does your dance.' During the pandemic, Sanjeet's artistry reached new depths. 'In that silence, there was only riyaaz. I wasn't dancing for an audience—I was dancing to understand Kathak at its core,' he reflects. 'My father's guidance during that time shaped me, not just as a dancer, but as a thinker.' In 2021, Sanjeet founded Kathak Parampara, a movement rooted in tradition but open to evolution. 'It's more than an institution—it's a living legacy,' he says. 'Students begin with tala and laya, but they're also encouraged to find their voice. Tradition must be preserved with love, practiced with discipline, and carried forward with vision.' Even in a tradition historically perceived as feminine in some circles, Sanjeet never felt out of place. 'In our family, male dancers have always embodied power and veer rasa,' he asserts. 'Kathak holds both strength and grace—it's not bound by gender.' His training in percussion has enriched his choreographic depth. 'The tabla shaped my understanding of rhythm. Movement isn't just about following the beat—it's about conversing with it. That's what I mean when I say, 'We make the rhythm dance to us.'' Sanjeet especially enjoys working with beginners. 'Teaching those with no prior training is like painting on a fresh canvas,' he says. But he cautions aspiring dancers against expecting quick mastery. 'What they see on stage is years—decades—of sadhana. Kathak isn't just choreography—it's a way of life.' Globally, his performances have transcended language barriers. 'I performed in China, where the audience had never seen Kathak. Afterward, a little girl came up to me and said, 'I understood the story.' That reminded me—emotion, rhythm, and energy speak universally.' If he weren't a dancer? 'I would've been a tabla player,' Sanjeet smiles. 'Rhythm has always been my foundation.' Above all, Sanjeet carries forward one lesson from his father that continues to guide him: 'Honesty in your art, punctuality in life, and faith in karma will take you further than anything else. Let your work speak for you—don't chase the result.' In every step, every chakkar, every sum—Sanjeet Gangani isn't just performing Kathak. He's living it, preserving its essence while shaping its future.


Time of India
01-07-2025
- Entertainment
- Time of India
Hariprasad Chaurasia, Hariharan, Roop Kumar Rathod, Javed Ali launch Rajeev Mahavir Sur Music
A star-studded musical evening marked the India launch of SUR Music, the Los Angeles-based original music label co-founded by international music composer Rajeev Mahavir and US-based creative producer Suvarna Pappu. The event brought together some of India's most revered names in music and cinema, including Padma Vibhushan Pt Hariprasad Chaurasia , Padma Shri Hariharan , Javed Ali , Roop Kumar Rathod, filmmaker Rumy Jafry, and Hon Minister Shri Ashish Shelar, who came together to inaugurate the label with applause and admiration. SUR Music's debut track, Mohabbat Teri , sets the tone for the label's soulful journey. Composed by Rajeev Mahavir and rendered by the legendary Padma Shri A Hariharan, the romantic ghazal blends timeless emotion with modern world music textures. The track also introduces Sohini Dey, a promising young voice poised to redefine the future of Indian music. Rooted in the ethos of 'Passionately Original', SUR Music aims to be a global platform for heartfelt, meaningful compositions. The event also spotlighted the driving force behind the label — its creative directors: Sandip Mahavir, Kaushal Mahavir, Sameer Mahavir, Yash Mahavir, Malhar Mahavir, Vaishnavi Mahavir, and Jahnavi Mahavir — representing 11 generations of the Jaipur Gharana and the enduring legacy of Pt K. Mahavir. Headquartered in Los Angeles and expanding rapidly in India, it is positioned to build artistic bridges between Bollywood and Hollywood, offering cinematic soundscapes that resonate across borders and generations.


Hans India
18-06-2025
- Entertainment
- Hans India
Mangala Bhatt's legacy lives through dance
Senior Guru Mangala Bhatt was the doyen of Kathak dance in Hyderabad. Her untimely passing in the early afternoon of June 16, 2025, at the age of a little over sixty, due to a serious illness which she battled courageously—having recently conducted a workshop for SPIC MACAY—has left a void that cannot be filled. Hers was a life devoted wholly to the service of art, to the very last breath. Among the senior-most members of the classical dance fraternity in the Twin Cities, her contribution to the field of Kathak in Hyderabad was unparalleled. Kathak and her name were synonymous. She was the senior disciple of Pandit Durga Lal of the Jaipur Gharana, whose memory she held in utmost reverence. In his honour, she instituted an annual festival that brought guest artistes from across India. She was the director, curator, and host of the Antarang Music and Dance Festival. Her immense contributions were recognized through countless awards, the most prestigious being the Sangeet Natak Akademi Award in 2019. She was also the founding director of Aakruti Kathak Kendra, where her students were nurtured with care and loving discipline. Her students were rigorously corrected when needed, but always in an atmosphere of care. Even the youngest felt free to speak up in class if they had doubts. This critic recalls visiting her classes, where the sheer number of students could have overwhelmed any teacher—but not her. Her limitless capacity for dedicated focus and attention ensured each student was under her keen gaze and was molded accordingly. Her entire day revolved around her students. Her main goal was to continually expand her vast knowledge and repertoire and pass it on to the next generation. Many vocalists and orchestra members groomed by her have become solo artists in their own right, adding great value to the cultural scene. A gracious host and always impeccably dressed with a superb sense of style, her residence was filled with exquisite artefacts collected from tours across India and abroad. These artefacts were fascinating reflections of her aesthetic sensibility. 'Kathak is not just about chakkars, there is much more to it,' she would often say. Her technique and hastaks were inspired. Her group productions featured gossamer costumes in breathtakingly refined colour palettes, adding a rainbow richness to the stage. Her abhinaya was nuanced and mature, marked by innate precision. In her creative explorations, she combined Kathak with diverse art forms—jazz drums, flamenco, ballet, painting, and more. Born in Kolhapur, Maharashtra, she met her life partner and fellow Kathak artist, Raghav Raj Bhatt, while training in Delhi at Kathak Kendra. He was a senior disciple of the legendary Pandit Birju Maharaj. Together, they brought a rare confluence of Jaipur and Lucknow gharanas to their artistic endeavours. They were blessed with a son, Madhav. Under her direction, students collaborated with William Dalrymple for the BBC, and she trained many well-known film artists in Kathak. Her recitals at the magnificent Chowmohallah Palace, under sparkling chandeliers, remain etched in memory. One of her celebrated performances was a jugalbandi titled 'A Confluence of Bharatanatyam-Kathak', performed nearly a decade ago with renowned Bharatanatyam artiste Dr. Rajeswari Sainath. Accompanied by live Hindustani and Carnatic orchestras, the performance was hailed for its harmony and authenticity. Tributes from senior colleagues and fellow artistes: Dr. Ananda Shankar Jayant, eminent Bharatanatyam and Kuchipudi dancer: 'Gone too soon! Immensely sad as a brilliant artiste merges into Nataraja. Ever-smiling, graceful, she ploughed through a rare illness with grit and strength.' Dr. Rajeswari Sainath, renowned Bharatanatyam exponent 'A huge loss. I remember sharing memories of our dance journeys during our jugalbandi partnership. A warm person filled with passion for dance. May she rest in peace.' Deepika Reddy, senior Kuchipudi dancer: 'Carrying herself with remarkable dignity, with unwavering strength and courage in the face of many challenges. Met her just a few weeks ago at a workshop where she addressed me with affection. Her legacy will continue to live through the lives she touched.' Prof. Anuradha J Tadakamalla, senior Kuchipudi dancer and academician at University of Hyderabad: 'Her name brings to mind a serene face with a smile full of compassion and love. A torchbearer of Pandit Durga Lal's legacy. Shocking to see her leave this world so soon. Praying for her sadgati.' Dr. Alekhya Punjala, senior Kuchipudi dancer and chairperson of Telangana Sangeetha Nataka Academy: 'A loss I cannot express in words. Will always remember her fondly as someone very dear to me.' Prof. Aruna Bhikshu, senior Kuchipudi dancer and academician at University of Hyderabad: 'She enriched our dance landscape with authentic depth. Her dynamic teaching style—of which her smile was as much a part as her taal and footwork—made Kathak both sacred and accessible. As a friend and colleague, her presence as an artiste and human being was a gift I will always treasure.' Harini Rao, Hindustani Classical Vocalist: 'Mangala ji was an absolutely graceful and gentle human being, alongside being an exceptional artiste. The first time I met her, she asked me to sing, and she was so sensitive to sur and lyrics that she was moved to tears. I was fortunate to collaborate with her on multiple occasions, and each time was a delight. My heart goes out to her entire student community—a world she built on love, discipline, and grace. She will definitely be missed, but will be fondly remembered by generations of Kathak students she has nurtured.'


New Indian Express
23-04-2025
- Entertainment
- New Indian Express
Kathak keeps you swasth and swachh: Pandit Rajendra Gangani
With every beat, Pandit Rajendra Gangani's dazzling footwork, elegant hasthaks (hand movements), and deeply emotive abhinaya (expressions) left the audience in sheer awe. His stage presence is nothing short of mesmerising, with each movement reflecting the soul of Kathak itself. As one of the foremost exponents of the Jaipur Gharana style of Kathak, Pt Rajendra has carved a unique space in the classical arts. After his unforgettable performance at the spectacular one-day festival of ghazals , music, and dance, presented by Chowmahalla Palace in association with Parichay Arts Foundation, he sat down with CE to share insights into his journey, art, and the spirit that drives him. Excerpts How did you feel performing at Chowmahalla Palace? Every time I dance, I strive to become a medium that connects the audience to something deeper — something spiritual. I want them to forget everything else and simply lose themselves in the rhythm, the expressions, the music. After a performance at Chowmahalla Palace, a few people came up to me and said they had tears in their eyes while watching me. Moments like that are truly special. If my performance makes someone laugh, cry, or feel any emotion at all, it means I've impacted them in the right way. At the age of four, you began learning Kathak from your father, Pandit Kundanlal Gangani. Can you tell us about your journey? People used to come to our home to learn Kathak from my father. I would watch them intently — my eyes full of curiosity and interest. Before long, I found myself standing beside them, mimicking their gestures. My father saw a spark in me and began to teach me. He wasn't just my father; he was my guru . That's why I've always called him guruji , not papa . My mother supported me wholeheartedly as well. If my father taught me something, she would ask me to show it to her while she was in the kitchen. That encouraged me to practice even more. Until I turned 19, life felt carefree — my father took care of everything at home and continued teaching Kathak. But everything changed the day he passed away. Suddenly, I had to take on all those responsibilities. I had to work twice as hard. I would wake up at 4 am, practice tirelessly and teach Kathak. Even at night, I continued practicing. That phase became a major turning point in my life. My breakthrough came when I performed at a festival called Sharad Chandrika . The audience was amazed — some even said a 'rockstar' had entered the world of Kathak. (laughs) In 1996, I performed in Sweden. Since most people there didn't know what Kathak was, they compared the quick footwork to Michael Jackson's style and began calling me that! Of course, one of the most cherished moments of my journey was receiving the Sangeet Natak Akademi Award in 2003 from Dr APJ Abdul Kalam. It has truly been an eventful and fulfilling journey. Any pre-performance rituals? Even though I still wake up at 4 am and practice diligently, I don't warm up or rehearse right before a performance. I simply step onto the stage and begin. Unlike in Western dance forms, the first few steps in Kathak serve as a natural warm-up. But there is one ritual I always follow: I close my eyes and say to my guru , 'Ab main jaa raha hoon, aap lekar aayenge' (I'm going to perform now — it's you who must guide me). I am the body; guruji is the soul. Can anyone learn Kathak, or is it a talent you're born with? Absolutely — anyone can learn Kathak! Classical dance forms like Kathak are meant for everyone, regardless of age or gender. It's not something you have to be born with; it's something you cultivate with dedication, passion, and practice. Kathak is still considered by many to be a 'feminine' dance form. What are your thoughts on this? Yes, that mentality still exists in some circles. But I'm completely at ease with my identity as a male Kathak dancer. I proudly maintain my mustache — it's a part of who I am — and at the same time, I perform the most graceful movements with confidence. In Kathak, male dancers often portray a wide range of characters, including female ones. But what we express on stage is part of the performance — it's art. It doesn't define who we are off stage. I teach many male dancers, but I don't believe in giving them advice through words. Instead, I lead by example. I show them the steps, demonstrate the discipline, and focus on helping them perfect their craft. How can we encourage more people to learn Kathak? Education and awareness are key. Parents and educational institutions should take steps to introduce children to Kathak. It's not just a dance form — it's a powerful art that nurtures the body, mind, and soul. By showcasing its depth, grace, and cultural richness, we can inspire more people to explore it. Kathak keeps you swasth and swachh!