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Hans India
4 days ago
- Entertainment
- Hans India
Mangala Bhatt's legacy lives through dance
Senior Guru Mangala Bhatt was the doyen of Kathak dance in Hyderabad. Her untimely passing in the early afternoon of June 16, 2025, at the age of a little over sixty, due to a serious illness which she battled courageously—having recently conducted a workshop for SPIC MACAY—has left a void that cannot be filled. Hers was a life devoted wholly to the service of art, to the very last breath. Among the senior-most members of the classical dance fraternity in the Twin Cities, her contribution to the field of Kathak in Hyderabad was unparalleled. Kathak and her name were synonymous. She was the senior disciple of Pandit Durga Lal of the Jaipur Gharana, whose memory she held in utmost reverence. In his honour, she instituted an annual festival that brought guest artistes from across India. She was the director, curator, and host of the Antarang Music and Dance Festival. Her immense contributions were recognized through countless awards, the most prestigious being the Sangeet Natak Akademi Award in 2019. She was also the founding director of Aakruti Kathak Kendra, where her students were nurtured with care and loving discipline. Her students were rigorously corrected when needed, but always in an atmosphere of care. Even the youngest felt free to speak up in class if they had doubts. This critic recalls visiting her classes, where the sheer number of students could have overwhelmed any teacher—but not her. Her limitless capacity for dedicated focus and attention ensured each student was under her keen gaze and was molded accordingly. Her entire day revolved around her students. Her main goal was to continually expand her vast knowledge and repertoire and pass it on to the next generation. Many vocalists and orchestra members groomed by her have become solo artists in their own right, adding great value to the cultural scene. A gracious host and always impeccably dressed with a superb sense of style, her residence was filled with exquisite artefacts collected from tours across India and abroad. These artefacts were fascinating reflections of her aesthetic sensibility. 'Kathak is not just about chakkars, there is much more to it,' she would often say. Her technique and hastaks were inspired. Her group productions featured gossamer costumes in breathtakingly refined colour palettes, adding a rainbow richness to the stage. Her abhinaya was nuanced and mature, marked by innate precision. In her creative explorations, she combined Kathak with diverse art forms—jazz drums, flamenco, ballet, painting, and more. Born in Kolhapur, Maharashtra, she met her life partner and fellow Kathak artist, Raghav Raj Bhatt, while training in Delhi at Kathak Kendra. He was a senior disciple of the legendary Pandit Birju Maharaj. Together, they brought a rare confluence of Jaipur and Lucknow gharanas to their artistic endeavours. They were blessed with a son, Madhav. Under her direction, students collaborated with William Dalrymple for the BBC, and she trained many well-known film artists in Kathak. Her recitals at the magnificent Chowmohallah Palace, under sparkling chandeliers, remain etched in memory. One of her celebrated performances was a jugalbandi titled 'A Confluence of Bharatanatyam-Kathak', performed nearly a decade ago with renowned Bharatanatyam artiste Dr. Rajeswari Sainath. Accompanied by live Hindustani and Carnatic orchestras, the performance was hailed for its harmony and authenticity. Tributes from senior colleagues and fellow artistes: Dr. Ananda Shankar Jayant, eminent Bharatanatyam and Kuchipudi dancer: 'Gone too soon! Immensely sad as a brilliant artiste merges into Nataraja. Ever-smiling, graceful, she ploughed through a rare illness with grit and strength.' Dr. Rajeswari Sainath, renowned Bharatanatyam exponent 'A huge loss. I remember sharing memories of our dance journeys during our jugalbandi partnership. A warm person filled with passion for dance. May she rest in peace.' Deepika Reddy, senior Kuchipudi dancer: 'Carrying herself with remarkable dignity, with unwavering strength and courage in the face of many challenges. Met her just a few weeks ago at a workshop where she addressed me with affection. Her legacy will continue to live through the lives she touched.' Prof. Anuradha J Tadakamalla, senior Kuchipudi dancer and academician at University of Hyderabad: 'Her name brings to mind a serene face with a smile full of compassion and love. A torchbearer of Pandit Durga Lal's legacy. Shocking to see her leave this world so soon. Praying for her sadgati.' Dr. Alekhya Punjala, senior Kuchipudi dancer and chairperson of Telangana Sangeetha Nataka Academy: 'A loss I cannot express in words. Will always remember her fondly as someone very dear to me.' Prof. Aruna Bhikshu, senior Kuchipudi dancer and academician at University of Hyderabad: 'She enriched our dance landscape with authentic depth. Her dynamic teaching style—of which her smile was as much a part as her taal and footwork—made Kathak both sacred and accessible. As a friend and colleague, her presence as an artiste and human being was a gift I will always treasure.' Harini Rao, Hindustani Classical Vocalist: 'Mangala ji was an absolutely graceful and gentle human being, alongside being an exceptional artiste. The first time I met her, she asked me to sing, and she was so sensitive to sur and lyrics that she was moved to tears. I was fortunate to collaborate with her on multiple occasions, and each time was a delight. My heart goes out to her entire student community—a world she built on love, discipline, and grace. She will definitely be missed, but will be fondly remembered by generations of Kathak students she has nurtured.'
Scroll.in
07-06-2025
- Entertainment
- Scroll.in
Listen: How tabla players accompany specially choreographed kathak works
In the last instalment of our series on tabla accompaniment to Hindustani vocal music and dance, we look closely at specially choreographed works that form a part of kathak performances and require a different skill from tabla players. Given the fact that these are largely precomposed works often using vocal forms like taranas that are interspersed with dance, pakhawaj or tabla compositions, the tabla players have to rehearse these compositions in order to be well-acquainted with the sequence of changes within each work. At times, the music ensemble may have a tabla player who does not usually accompany the dancer. In such cases, dancers may choose to have an additional tabla player or pakhawaj player who regularly accompanies them, as these musicians have memorised the sequences and can take the lead in guiding the rhythmic accompaniment. On other occasions, especially when dancers travel overseas, the usual ensemble does not accompany them. In such cases, they may even choose to use a recorded version of the music for their dance recitals. The track in today's instalment features a tarana in the raag Nand set to the 12-matra Ektaal. It is sung by well-known vocalist and composer Ashit Desai and is interpreted by the renowned dancer Durga Lal. Listeners will note the manner in which the tabla follows the footwork and dance compositions as well as the syllables of the tarana. Play
