LIFESTYLE
Kathak legend Pt Birju Maharaj says the concept of fusion dance “troubles him”; adds that people like Sanjay Leela Bhansali understand the art form
Padma Vibhushan Pandit Birju Maharaj, in a chat with HT, expresses his concerns about native cultural art forms. According to him, nowadays, “rarely you come across any song, which sounds right”.
Padma Vibhushan Pt Birju Maharaj is one name that the world reckons with kathak dance. From a family of famous kathak dancers of the Lucknow Gharana of Uttar Pradesh, Pt Birju Maharaj started learning kathak from his father, Acchan Maharaj, at a very young age.
Dedicating his life to master and teach the dance form to thousand others, he continues to perform and enthral audiences at the age of 79. We talk to the legendary dancer, who is popularly known as Maharajji, about teaching kathak for more than six decades, his work in Bollywood and the trend of fusion dance.
You are teaching kathak for over 60 years now. What differences do you see in the classical dance scene in the country today?
My first job was at Sangeet Bharati (Delhi) at the age of 14, where many kids would come to learn kathak from me. Girls would start learning the dance form at a young age and would continue till they got married. They would learn kathak for the love of dance.
Tell us more about your journey as a dancer.
I continued working at Sangeet Bharati for almost five years and then joined Bharatiya Kala Kendra (Delhi). Since childhood, I liked the idea of dancedramas and in Bharatiya Kala Kendra; I got this opportunity [to choreograph them]. My first dance composition was Malti Madhav, in which I played the character of Makarand. I asked my uncle, Lacchu Maharaj, ‘What is the hero doing in the act’. He said, ‘He is sitting in a sad mood and his friend, Makarand, is trying to cheer him up’. He said Makarand will get to dance more. So, I thought I’d rather do the role of Makarand and not the hero (laughs). It was a good dance ballet and my first experience at it.
It was just the beginning of a good time. After that we did several dance dramas such as Kumar Sambhav, Katha Raghunath Ki, Habba Khatoon and many more. It’s impossible for me to even remember all of them. So, the introduction of dance drama in kathak made even laymen, who didn’t understand the intricacies of the classical dance form, enjoy it. But throughout, it remained pure kathak. I have only done one dance form and I just know kathak.
You stuck to one form, but fusion dance is popular these days. What do you have to say about the trend?
Yes, even I hear about it. But I always say that there is a specific taste for everything. For example, how can you mix something that is sweet with something that is salty? I don’t understand that and get very troubled by it. You bring some other style in front of me, but I’ll do what is my style. I’m far away from fusion, I don’t do it.
I performed a duet with Mario Maya, a famous flamenco dancer in Spain. I told him, by the end [of the show] you also come [on stage] and I’ll join you. After the performance got over, he said, ‘Your rhythms and patterns are so difficult, and you perform barefoot’. So, I told him, ‘Yes, in our country, we don’t wear shoes when we perform [classical dance forms].
You have also choreographed in Bollywood movies. How has been your experience?
Yes. It started with Satyajit Ray’s Shatranj Ke Khiladi (1977), and then later I got (to work with) Madhuri [Dixit]. She is a beautiful dancer. She understands dance, and her body movements and expressions are good. Then I did three to four films with her such as Dil To Pagal Hai (1997), Devdas (2002) and Dedh Ishqiya (2014).
In the end, I got [to work with] Deepika [Padukone] (in Bajirao Mastani, 2015). She had some problems initially as she is trained in Bharatanatyam. But she picked up in the end. I told her, ‘Lage raho, kuch na kuch too ho hi jayega. Chehra mohra too accha hai (Keep it up, something will surely work out. Your face and postures are good), and even your eyes are expressive.’ People liked Deepika and the song became popular. I even choreographed Kamal Haasan in Vishwaroopam (2013), and got a National Award for the same. I was happy because I felt that Kathak had won the award.
Who has been your favourite Bollywood dancer among all those you have worked with?
My favourite is Madhuri. Her mother told me that she has been learning Kathak since childhood. Let’s see whom will I get [to choreograph] in the future. I always have this thing ‘ki heroine pure kapde pehne’ (the actress should be fully clothed). But it’s difficult to get it in today’s time.
We are influenced by the western culture. When I talk to Lataji [Mangeshkar] and Ashaji [Bhosle], even they express their displeasure about the current situation. Neither we have old [Bollywood] style of music, nor do we have those words. Music composers of our time such as Madan Mohanji or Shankar Jaikishanji used to have a little classical touch [in their songs]. Now, rarely you come across any song, which sounds right.
How was your experience of working with Sanjay Leela Bhansali and Kamal Haasan?
Sanjay and Kamal Haasan understood me and my feelings really well. Sanjay thinks good and does good work. And when I worked with Kamal Haasan, he said, ‘Maharajji, you correct my every movement. I don’t want to do it wrong’. There are only few people like them.
Madhuri is a beautiful dancer. She understands dance, and her body movements and expressions are good. PT BIRJU MAHARAJ, KATHAK DANCER