गुरु ,शिष्या आणि शिष्येच्या शिष्या

पाहु कि ऐकु, ऐकु का पाहु. हाच प्रश्न पडला आहे.

डोळ्यांनी पहायला गेलो की मग कानावर अन्याय होतो, नुसते कानांनी ऐकायला गेलो तर डोळ्यांवर.

पखावज वर साथीला स्वयंम श्री.भवानी शंकर आणि कथ्थक नृत्य गुरुवर्या राजश्री शिर्के व त्यांच्या शिष्या.

चंगळ चंगळ म्हणजे काय असते हो राजाभाऊ ? पखावज ऐकु की नृत्य पाहु कि दोन्हाचा आस्वाद एकाच वेळी घेऊ ?

रावण मंदोदरी संवाद.
मंदोदरी परोपरीने रावणास विनवीत होती, सीतेला प्रभु रामचंद्राकडे परत पाठव, तुझा वध त्यांच्या हाती निश्चित आहे, तु माघार घे , पण.
ह्या सरे उलगडले गेले कथ्थकच्या माध्यमातुन.
प्रभुरामचंद्रांनी संतापुन धनुष्य हाती घेतले , या वसुंधरेचा भार घेतलेला शेष डगमगु लागला, भयभीत झाला. हा प्रसंग काय प्रभावीपणे सादर केला . वा.

आज दुसरा आणखी एक कथ्थक कार्यक्रम पाहिला. त्यांचीच शिष्या संजुक्ता वाघचा. राजाभाऊंची पुतणी संजुक्ता वाघकडे कथ्थक शिकायला जाते. गुरुपोर्णीमे निमीत्ते आज त्यांचा व शिष्याचा कार्यक्रम झाला.

चंगंळ ,चंगळ म्हणॅतात ती ह्यालाच .

from NCPA's website -

Ravana Mandodari Samvaad is based on a dialogue between the great demon king Ravana and his wise and spirited wife, Mandodari. It is a dialogue about Ravana’s decision to retain Seeta and wage a war against Rama. A devotee of Rama, Mandodari tries her best to persuade Ravana to return Seeta and hopes to avert what she knows will be a bloody and terrible battle, doomed to result in the death of her husband. Caught between her devotion to Rama and her love for her husband, Mandodari’s predicament is a difficult one. Ravana, in his arrogance, brands her a coward for pleading with him to stop the war. Thus the war begins. Rama strings his bow and its twang shakes the entire world. Mandodari is torn apart. Finally, as we all know, Rama is victorious and Mandodari’s truth prevails. Celebrated as one of the pancha-kanyas in Hindu mythology, Mandodari is a unique woman. She is presented in this recital as an embodiment of woman-power, unusual in her powers of clarity and discernment, her ability to see reason and fight for her convictions against all odds. This presentation is in the Kathakar Paddhati format. It is supposed that in ancient times, kathakars – also called granthikas, gathakas, pathakas – were appointed in temples to narrate mythological stories through music and dance. The kathakar is therefore variously defined as a storyteller, narrator of drama and a solo performer. This piece has been performed at various festivals, including the Virasat Festival (Lucknow), the Kathak Kendra Mahotsava (Pune), among others.
Pakhawaj Dharohar is a unique Kathak presentation, based on the traditional and ancient rhythmic compositions of the oldest Indian classical percussion instrument, the ‘pakhawaj’. These compositions – known as parans – are known for their vibrancy, variety and mastery over rhythmic vocabulary. They have been composed by the late Pt. Babulalji Kathak (of the Maharaj Kudou Singhji gharana and Jaipur gharana) and by his son, the percussion stalwart, Bhavani Shankar.