BY RUCHIRA GHOSH

Indian classical dances are highly venerated by cultural aficionados and the general public worldwide. The legendary dancers of yesteryears have left the limelight behind them, “yielding place to new.” Their progeny and outstanding disciples are striding forward to showcase their talent, more importantly, to uphold and sustain the sacred traditions bequeathed to them by their mentors. Here we portray two contemporary dancers, albeit from divergent schools, whose sole passion in life is Dance.

I had watched Sudip Chakraborti’s Kathak recital at a cultural event in New Delhi, India, last December. And I was wonderstruck to see him perform; the supple physique, the flawless graceful gyrations, so feminine at times, would make one forget that the presenter happened to be a male; the swift intricate, impeccable footwork enthralled the viewers. I met the vivacious dancer on the sidelines of the show, and an interesting tete-a-tete followed.

Sudip

Why choose Kathak? Sudip quips, “I believe with every fibre of my being that Indian classical art forms, be it dance or music, choose us. I think it would be outrageous to say I chose Kathak. But candidly speaking, I think it was a very subconscious, spiritual yet smooth process for me to be part of this art form. But I feel some things are meant to be. Dance works in mysterious ways.’’

The handsome boy, hailing from West Bengal’s Kanchrapara, was initially trained in Kathak under Kolkata-based maestros Shri Pranab Sanyal and Shri Sandip Mallick for 17 years. He is an arts graduate from Maulana Azad College Kolkata. Later, in a bid to study and master the nuances of Kathak in-depth, he journeyed to Delhi to become a disciple of Guru Pandit Jai Kishan Maharaj. Alongside, he learned to play the pakhawaj under the tutelage of Pt. RaviShankar Upadhayye. About this time, he also enrolled in Govt Madhav Music College and Raja Man Singh Tomar University (both in Gwalior, M.P.) for an M.A. in Kathak.

His literary tastes and command over learning helped Sudip to successfully blend literature with dance in several choreographies over the years. He also dabbled in many collaborative projects, directed and produced many concept choreographies, and executed them at various festivals in major Indian cities and overseas destinations.

Kevin

Poised on the threshold of his 20s and 30s, Sudip already has many feathers in his cap. He is the founder-director of Nirvana Arts Foundation with centres in New Delhi and Gurugram. Now 7 years old, its prime focus is on the arena of contemporary dance-theatre based on Kathak and other art forms, not limiting the diversity of its productions.

His performances read like an Honours list. He is still euphoric about his latest (2023) oeuvre “Out Damned Spot!” An adaptation of Shakespeare’s Macbeth in Solo Dance Theatre format based on Kathak. It was a first-of-its-kind worldwide. He also participated in Chhandakotsav, Indore 2018, Amravati Nrittyotsava A.P. 2017, Kojagari The International Theatre Festival W.B 2017, Uday Shankar Dance Festival, W.B. 2019, besides the annual Dover Lane Dance Festival, Kolkata.

Regarding Guru-Shishya parampara, the pivot point of Hindustani classical dance & music, Sudip says: “I think for dance and music, there is no other way than this. India is a country of spirituality and many great souls have trod upon this sacred land; it was easier for us to recognize this beautiful tradition and honour it with such an enriching name ‘Guru Shishya Parampara’. However, as everything that has ever been touched by humans found its alterations in both good and not-so-good light, I realize how this beautiful and enriching custom has been manipulated and vice-versa. I feel it’s our responsibility to uphold and nurture the values of this beautiful custom, without compromising the integrity of the individual conscience.” How does Sudip foresee the future? “For us artists immersing ourselves in Art is what the end goal looks like. Enjoying every moment, living in its true essence, and constantly learning is like living fullest to us. I honestly don’t have an agenda as such, I just want to focus on keep working, earning a great living, creating productions, teaching, and enjoying life, while leaving a meaningful legacy behind,” he concludes.

Distance can never be an obstacle so far as culture is concerned. It is this yearning for knowledge that takes the aspiring seeker to faraway places. Born and raised in Trinidad & Tobago, Kevin Vinod Bachan journeyed all the way to India, land of his ancestors, to learn classical dance, Odissi to be precise. It is a visual delight to watch the dusky, virile youth, onstage his passion transforms him into a mystic being. Kevin Vinod reminisces, “My interests have always been in Arts (read dance), but it was frowned upon as dance wasn’t something that boys should be partaking in. I left Human Ecology studies at the University of West Indies and moved to India to pursue dance.

Why Odissi? Vinod reacts, “I had seen Odissi on TV and found it to be super mesmerizing. From the music to the costumes to the dance, it was just all-encompassing. Unfortunately, there was little opportunity to learn because one teacher didn’t accept males and the other class was far away, and at that time, I was too young to travel alone. However, there was a Kuchipudi class near my coaching centre back home. I had a nearly 5-year stint there, but I knew deep down in my heart Odissi was what I wanted. After a few years, I was old enough to attend an Odissi workshop at Mahatma Gandhi Institute for Cultural Co-Operation (MGICC) in Port of Spain, Trinidad. There I explored the possibilities of making Odissi into a career. Thereafter, like I already mentioned, I left my college and home and flew to Bhubaneswar (fountainhead of Odissi) to pursue my passion.

After he joined Guru Padmashree Ranajna Gauhar’s Utsav Dance Academy (New Delhi), Vinod Kevin’s life changed forever. He recalls, “Here it’s a holistic learning and training environment that not only molds you into a great dancer but also a wonderful human being. I began as an ordinary pupil undergoing basic, rigorous training. However, as I was a late beginner, I realized I had much more to accomplish and make up for the lost time. It took lots of hard work and sacrifices to reach where I am now. There were days when I survived on a single meal a day because I needed money to buy dance accessories and meet my basic living expenses. Fortunately, with the support and confidence of my Guru plus my parents’ sacrifices, I have managed to travel thus far in my journey of dance”.

Kevin’s outstanding and memorable performances include his mentor’s production “Matsaya Avaatar” (with him in the lead) presented at the lead Konark Dance festival in 2018. It won wide critical acclaim. The appreciation and adulation that Vinod received from the audience was overwhelming. During the Khajuraho Dance festival 2021, Vinod had an enriching experience which got etched in his mind forever. He recalls, “I remember getting dressed, felt nervous and happy at the same time. I always carry a framed photo of my parents and Guruji with me during each performance. We walked to the stage, me still jittery. But when I heard the sound of the mardal/drum, I had a sense of déjà vu. It was the same feeling which I had when I first heard live Odissi music; that bliss, that joy, that love for this art gushed in. I felt connected to the source, and at that juncture, I knew this is where I belong. Now I felt I have Reached!!!

Kevin is a recipient of the prestigious Ustad Bismillah Khan Yuva Puruskar (courtesy Sangeet Natak Akademi). When not dancing, he doubles up as a Yoga and Wellness Coach. About Guru Shishya traditions, Vinod opines, “This is at the core value system of our society. A guru not only guides you in your Art but also makes you a better human being. Due to this parampara, our sacred Indian art and culture have survived for more than 2000 years. In Guru Shishya Parampara, the Guru adopts the shishya as his own offspring. This parampara offers space for growth, understanding, and development of your entire being and your Art. Our conversation veers around his Guru Smt Ranjana Gauhar. Vinod says animatedly “Mere words cannot explain what my Guru means to me. Before meeting my guru, I was in a state of depression, lacked confidence and self-worth. She took me in and changed my life for the better. Guruji considers me as her own son, inspires me to be better, work harder and become an all-rounder dancer and individual. She takes very good care and pays attention to all her disciples; she is one of the rare gurus who make sure that her students are well trained and get opportunities to perform on stage”.

Regarding obstacles in his career path, Vinod divulges male dancers face gender discrimination because many organizers or festival-decision makers believe female dancers are better suited to perform on stage. It is something I still perceive around me. In a lasya (soft sensuous) oriented style like Odissi, female dancers enjoy more privileges even today. However, changes are happening, and I look forward to making further changes. How does the 35 y/o visualize his future? “I plan to create some new choreographies and also to travel the world to propagate my Guru’s legacy and also of her Guru the legendary Guru Mayadhar Raut whose style we follow.’’ He concludes.