The stunning Kathak danseuse Divya Goswami Dikshit marked her moves through her mesmerizing performance once again on January 24, 2018 at the India International Centre. Born into the family of the legendary Hindu philosopher of Vedanta, Swami Ram Tirtha, Divya holds close the concept of spiritual, emotional and intellectual growth, through the Indian Classical Arts. She has been on her journey of Kathak for over two decades and Divya now continues her training under the tutelage of the Great Maestro of Lucknow Gharana, Guru Munna Shukla.

Divya has been bestowed with the coveted ‘Ustad Bismillah Khan Yuva Purushkar’ by the apex body of performing arts in India, Central Sangeet Natak Akademi. She is also a recipient of the prestigious National level Title ‘Singar Mani’ conferred by the Sur Singar Samsad, Mumbai. Divya is an empaneled artist of SPICMACAY and also a Doordarshan graded artist. Having performed at numerous concerts and lecture demonstrations in India and abroad, Divya stands still in her belief that classical art forms and Kathak in particular, take us closer to our roots, our inner self and is a medium for self evolution.

The evening was dedicated by Divya at the feet of her Guru’s…their teachings, mentoring and blessings.
Accompanying Divya on the evening were an esteemed panel of Musicians.
On the Tabla – Shri Govind Chakraborty
On the Sarangi – Shri Anil Kumar
Playing the flute – Shri Kiran Kumar
For vocal support – Shri Khushal Sharma
And on Padhant – Kumari Neha Chauhan

Divya commenced the evening recital with an invocation ‘Shiva Aradhana’. “Gale bhujang bhasma ang. Satguru charanrvind, Shiva Samadhi Lagi..” Wearing the serpant coiled around his neck, arms and hair, Shiva’s body is smeared with ashes. The three eyed lord is above body consciousness, always in a state of abandonment, wandering with Gauri. Lord Shiva showers us with his spark of knowledge, liberating us…guiding us. The composition was set to Raag Des and Taal –Ek taal.

The invocation was followed by the Nritta Paksha, unfolding rhythm. The Nritta paksha in Kathak is a wonderful confluence, a synthesis, a coming together of the Hindu and Moghul culture. The structure of traditional Kathak follows a steady progression of the rhythm, energy and movement. Divya presented Taal Dhamaar, a time cycle of 14 beats. It is associated with the dhrupad style and typically played on the pakhawaj. Power, energy and the element of Veer Rasa are inherent in it structure of this
Taal.

An Ashtapadi of the great poet Shri Jayadev, written in the 12th century describes the Prem Bhakti between the two immortal lovers Radha and Krishna. Divya, presents this evening the Ashtapadi, “Dheer Sameere Yamuna Teere”. The 11th Ashtapadi in the sequence as written by the poet. Krishna awaits on the banks of river Yamuna. The fragrant breeze inflames his passion. Radha full of pride, is reluctant to move. Sakhi cajoles her and tells her that Krishna, dressed in his finery, looking even more handsome than Kamdev, plays the mystic flute only for her. Radha should not delay the divine union.

The love of Krishna and Radha is repleted with divinity, spirituality and the Bhakti Rasa. The music for the Ashtapadi is inspired by the rendition of Shri Raghunath Panigrahi ji.

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