Krishna and Radha with Bansuri.
Vrindavan, 2015.11.24 (VT): Much as I would like to have multiple expansions and be able to attend all the activities that are going on in Vrindavan right now, I have been particularly fascinated by the variety of performances that have been put on display at the Vrindavan Prakash Mahotsav at Fogla Ashram. Yesterday, I wrote about the Manipuri performers and today I would like to add a few words about the Kathak dance performance by the Birju Maharaj Parampara group headed by Jai Kishan Dasji.
The piece they performed was called Shyama Pyari. The first part was particularly delightful as an original dance presentation of the Vamshi Chauri lila, in which the gopis become envious of the flute and finally Radha decides to steal her away from Krishna with their help.
The flute was personified by a dancer appropriately named Muralika. When she is separated from Krishna, she dances a mad tandava nritya of suffering in separation until Krishna manages to find her again and the universe is restored to normal.
I talked to Kishan Lalji for a few moments afterwards. One thing I was interested in was the depiction of Krishna lila, especially the madhura lila. His family comes from Lucknow where his ancestors performed in the court of the Nawab. They trace their lineage of kathak performers at least nine generation.
I asked about the custom of using young boys to play women’s roles in dance dramas like Braja’s raas. Kishanji told me that in the royal courts women danced and that it was not seen as a problem.
Kishanji also composes the music and writes the poetry used in the dance/play, besides being the choreographer. His family has long been worshiping Krishna and they mine the rich mythology of Krishna lila for themes of the dance.
Kishanlalji’s dance is modern, in the sense that it makes use of technology and allows various influences such as from ballet, etc., but does so with artfulness and aesthetic taste.
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