The Origin of Kathak Born out of the aural storytelling tradition that flourished in the temples of the Indo-Gangetic plain since the times of the epic Mahabharata, Kathak is derived from the word ‘katha’, meaning, a story. Hence the word ‘Kathak’ originally meant a storyteller who recounted mythological tales in temples and danced about their content in a state of devotional ecstasy. Originating in the sacred text known as the Natya Shastra, the development of Kathak, as a comprehensive and expressive dance form, went through an initial development in temple courtyards, later being elevated to the royal courts of the Muslim and Hindu kings of India. While the devotional aspects were pronounced in the temples, the courts added on the elements enhancing the sophistication of the presentation. This dance form depicts “life” and is based on the philosophy of the Trinity-creation (Brahma), preservation (Vishnu) and destruction (Maheshwar). Through its long journey, Kathak picked up features that were encouraged by its patrons. Each of the three major centers of Kathak- Lucknow, Jaipur and Benaras- produced a dialect of the dance that had its own unique flavor. The Dancer Ashimbandhu Bhattacharjee was initiated into the world of dance and music at a very tender age. His dance is a configuration of the Jaipur and Lucknow gharanas of Kathak and hence is a harmonious amalgamation of grace and vigour. A performer, teacher and a choreographer par excellence, Ashimbandhu has carved a niche for himself and has given a new dimension to Kathak. His Mentors He was initially trained in Jaipur gharana of Kathak under the able guidance of Pandit Ramgopal Mishra and Shrimati Susmita Mishra. He then learnt the nuances of Lucknow gharana from the renowned Kathak maestro, Pandit Vijay Shankar and later from the legendary Padma Vibhushan Pandit Birju Maharaj.
His Associations
He has worked with many dancers an choreographers of international repute. Some of them are Padmavibhushan Pandit Birju Maharaj, Dietmar Seffret (Germany), Prof. Kity Son (Japan), Padmashree Kumudini Lakhia, Dr. Manjushree Chaki Sircar and Pandit Vijay Shankar.
Recognitions
•Recipient of Senior National Scholarship in Kathak from the Dept. of Culture, Govt. of India.
•Recipient of Junior National Fellowship in Kathak from the Dept. of Culture, Govt. of India.
•A top grade artiste of Doordarshan.
•Selected as one of the outstanding choreographers by Indian Council for Cultural Relations (ICCR), Govt. of India.
•Selected by the ICCR as a Dancer and Teacher to be stationed abroad.
•Selected by the Govt. of West Bengal as The Best Choreographer of the year 2004-05.
Some Major Performances in India and Abroad
Asiad’82, Kalka Bindadin Utsav, Sharat Chandrika Dance Festival organized by Kathak Kendra, Sangeet Natak Academy Dance Festival, Soorya Festival, Allahabad Conference, Sangeet Research Academy (SRA), Sharad Parva, Nrityotsava, Chidambaram Natyanjali, Bishnupur Festival, Konark Dance and Music Festival, West Bengal State Music and Dance Festival, Swarna Samaroh, Dover Lane Music and Dance Festival, Uday Shankar Festival, Vishwa Banga Sammelan, Aspiration 2000, Kathak Mahotsav, Mahabharat Festival, Vasantotsav, programmes organized by the Govt. of West Bengal, Indian Council for Cultural Relations (Govt. of India), India International Centre, Khajuraho Dance Festival’08, New Choreography Festival, Alauddin Khan Samaraho’09, Virasat Festival’09, Guru Dakshina Festival, Bhubaneshwar, Dharani Kala Utsav,Kerala, Mudra Festival, Trivandrum, Rabindra Pranati organized by Sangeet Natak Akademi, Hyderabad, Pravah Festival Mysore, Goa organized by IRCEN.
His visits abroad are on invitation by renowned private organizations and as a cultural delegate of the Govt. of India. Some of the major ones are U.S.A., Japan, U.K., Russia, France, Germany, Belgium, Hungary, Serbia, Sri Lanka and Bangladesh, organized by Indian Council for Cultural Relations (ICCR).
His Creations
Ashimbandhu has got a beautiful choreographic works to his credit for which he has been widely acclaimed by the press and public. Some of the most well known ones are Om Shakti, Vasudeva, Togetherness, Ghungroo, Bhoomi Bhashit, Andaz-e-Ghalib, Shikhandini, Idgah, Hey Purusottam, Hey Mahamanav and Sarvajana Bhavna.
His Organizations
Upasana Centre for Dance is his fruit of labour, love and passion. The efficiency and sincerity of its members and patrons have nurtured the bud into a blooming flower. It carries out various activities for the further development and expansion of Kathak. Here the students learn not only to dance but also the intricacies of a relationship between the guru, mentor and the shishya, disciple. Some of the senior artistes and students of Upasana have blossomed into promising Kathak dancers.
Appreciations
Ashim’s masculine grace coupled with ease and dignity with which he performed the various movements singles him out as a performer who has great potential. –The Statesman
Not every day one comes across such grandiose of speed and pirouettes as displayed by Ashimbandhu in his Kathak recital. –The Telegraph
The clarity of foot work, brilliance of speed and effulgence of the series of pirouettes and above all the animation of youthful vigour spoke amply of this sincere contemplation. – The Telegraph Ashimbandhu Bhattacharjee from Calcutta rendered a Shivastuti (Sunder Shiva Parama Brahma) in which he infused spiritual grace to depict the Trigunateeta Dhyana Magna quality of Lord Shiva. –National Herald
Ashim has pleasing appearance and graceful movements. In the Abhinaya items he concentrates more on masculine and vigorous items suitable for male dancing. –The Statesman
But what could have become a Pot-pouri has, in his case turned into a happy amalgam of the sound, rhythmic teyyari of Jaipur coupled with the filigree soft touches of the Avadhi stream. –The Hindustan Times (Shanta Serbjeet Singh, acclaimed dance critic)
He displayed his tayyari to an admiring audience. This involved dancing, a result of his meticulously acquired technical excellence naturally involved the audience. –The Economic Times
Blended with elements from martial arts and Chhou, the choreographer staged a striking spectacle of rhythm and expression. –The Telegraph
The stage at Vivekananda Hall came alive with the tinkling of a thousand ghungroos of Ashimbandhu Bhattacharjee on 18th May. … The song Vande Mataram probably never saw as much meaning and variety as he gave it. –The Telegraph
Ashimbandhu Bhattacharya, who combines the subtlety and softness of the Lucknow School of Kathak and vigour of the Jaipur Gharana. … His performance for Kerala Fine Arts Society was lauded for the novelty of themes and his coordination and direction of a skilled troupe. … The feel of tranquility and solace that the dancers evoked with their expressions and restrained movements was truly elevating. … The expressive narration in Hindi and the lilting instrumental music and Sanskrit chants heightened the aura of mystique. –The Hindu
At a deeper level, the composition traces the evolution of aesthetic perception of humanity. History comes alive in different layers as deep as poetry, accompanied by a joy that only dance can evoke. As the performance ends, you hear the jingling all around, deep within, and it comes through your blood stream like the rivers in India.
–Nautaki