Guru Mohanraoji Kallianpurkar

Birth Centenary Year

1913 - 2013

Mohanraoji

A Celebrated dancer, A Generous Guru, A Complete Artist a true 'Kathak'.

Left his education to pursue Kathak dance. An ardent devotee of his Gurus, who was trained extensively

in both Lucknow and Jaipur Gharana, under Pt. Acchan

Maharaj, Pt. Shambhu Maharaj and Pt. Sunderprasadji.

An unassuming humble person, with wealth of knowledge in Dance, music and literature.

An erudite scholar, who formed a terminology and extensive vocabulary for Kathak dance.

An extremely traditional mind yet with a conviction to formalise and standardise training in Kathak dance...

A very well read, learned man who could write eloquently, both in English and Hindi.

A visionary who was way ahead of his times in his ideas, concepts and compositions.

A prolific composer, with an uncanny sense of laya and taal, who had a vast knowledge of Tabla, Sitar, Vocal..

A Master in Bhav paksha, who showed rare sensitivity and elaboration in the portrayal of his thumris and bhajans.

A fellow of Sangeet Natak Akademi, a recipient of Karnataka State Government Award and President's Award.

Tribute

Legendary Guru Pt. Mohanraoji Kallianpurkar

Birth centenary year

1913 - 2013

Mohanraoji

A Celebrated dancer, A Generous Guru, A Complete Artist a true 'Kathak'.

Left his education to pursue Kathak dance. An ardent devotee of his Gurus, who was trained extensively

in both Lucknow and Jaipur Gharana, under Pt. Acchan

Maharaj, Pt. Shambhu Maharaj and Pt. Sunderprasadji.

An unassuming humble person, with wealth of knowledge in Dance, music and literature.

An erudite scholar, who formed a terminology and extensive vocabulary for Kathak dance.

An extremely traditional mind yet with a conviction to formalise and standardise training in Kathak dance...

A very well read, learned man who could write eloquently, both in English and Hindi.

A visionary who was way ahead of his times in his ideas, concepts and compositions.

A prolific composer, with an uncanny sense of laya and taal, who had a vast knowledge of Tabla, Sitar, Vocal..

A Master in Bhav paksha, who showed rare sensitivity and elaboration in the portrayal of his thumris and bhajans.

A fellow of Sangeet Natak Akademi, a recipient of Karnataka State Government Award and President's Award.

Tribute

Legendary Guru Pt. Mohanraoji Kallianpurkar

Birth centenary year

1913 - 2013

01

Articles by Pt. Mohanrao Kallianpurkar

Guru Bindadin Maharaj : Gauravashtak 02

Guru Sundar Prasdji : Aarti 03

gau$ pM.sauMdr p`saad jaI 04

Guru Pt. Shambhu Maharaj 09

Dance Seminar : 1958, Sangeet Natak Akademi 15

The Technique Of Kathak : Marg 1959 20

H$WH$ H$s ebr 24

Syllabus: Bhatkhande University of Music, Lucknow 29

nanam Ama {~aOy _hmamO 32

Rohini As I Know Her 36

Indian Classical Dance : A Book Review 39

Traditions Of Indian Classical Dance: A Book Review 41

Chintan 43

Articles about Pt. Mohanrao Kalyanpurkar

n. _mohZamdOr H$`mUnwaH$a - OrdZr VWm H$m` Rohini Bhate 46

PmoH$m| go CS> aho h -`mXm| Ho$ no Padma Sharma 50

_mohZamd H$`mUnwaH$a `mXm| Ho$ PamoIo _| Purnima Pande 52

Mentor And Friend - Not Guru. Uttara Asha Coorlawala 55

eVe: Um_ Pranati Pratap 57

A Tribute To My Guruji Bhagyashree Oke 59

_mPo XmXmJw$ Shama Bhate 62

Kathak Utsav 2003 Dr. Sunil Kothari 65

Thumri's Genesis In Kathak Dance Mohan Nadkarni 67

Remembering Mohanrao Master Saheb Susheela Misra 71

n. _mohZamd H$`mUnyH$a Rohini Bhate 74

01

Articles by Pt. Mohanrao Kallianpurkar

Guru Bindadin Maharaj : Gauravashtak 02

Guru Sundar Prasdji : Aarti 03

gau$ pM.sauMdr p`saad jaI 04

Guru Pt. Shambhu Maharaj 09

Dance Seminar : 1958, Sangeet Natak Akademi 15

The Technique Of Kathak : Marg 1959 20

H$WH$ H$s ebr 24

Syllabus: Bhatkhande University of Music, Lucknow 29

nanam Ama {~aOy _hmamO 32

Rohini As I Know Her 36

Indian Classical Dance : A Book Review 39

Traditions Of Indian Classical Dance: A Book Review 41

Chintan 43

Articles about Pt. Mohanrao Kalyanpurkar

n. _mohZamdOr H$`mUnwaH$a - OrdZr VWm H$m` Rohini Bhate 46

PmoH$m| go CS> aho h -`mXm| Ho$ no Padma Sharma 50

_mohZamd H$`mUnwaH$a `mXm| Ho$ PamoIo _| Purnima Pande 52

Mentor And Friend - Not Guru. Uttara Asha Coorlawala 55

eVe: Um_ Pranati Pratap 57

A Tribute To My Guruji Bhagyashree Oke 59

_mPo XmXmJw$ Shama Bhate 62

Kathak Utsav 2003 Dr. Sunil Kothari 65

Thumri's Genesis In Kathak Dance Mohan Nadkarni 67

Remembering Mohanrao Master Saheb Susheela Misra 71

n. _mohZamd H$`mUnyH$a Rohini Bhate 74

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ku.jayakumaarI gau$ jayalaala kI pu~I qaIM ]nako pu~ qao Baava qaa jaao Ant samaya tk banaa rha

pM.ramagaaopala ijanaka kuC vaYaao-M pUva- klak%ta maoM inaQana hao `sana\ 1926 30 maoM rayagaZ, ko raja cakQarisaMh ko drbaar kI gayaa gau$ jaI ko CaoTo Baa ka naama qaa pM.maalaU jaI jaao sana ek GaTnaa sao gau$jaI ko jaIvana maoM ek icarsmarNaIya maaoD, \ 193035 maoM iksaI samaya baMba sao Acaanak laapta hao gae Aayaa jaOsaa ik gau$jaI nao batayaa GaTnaa [sa p`kar hO baihna laCmaa ka ivavaah pM.BaUralaala ko saaqa huAa iflma

gau$ jayalaala jaI Apnaa naR%ya kaya-ma AarMBa krnao vaalao qao jagat\ ko dao iva#yaat naR%ya inado-Sak sva. pM. saaohnalaala AaOr

saarMgaI pr lahra Ait ivalaMibat laya maoM qaa gau$jaI tbalao pr sva.pM. hIralaala pM. BaUralaala ko pu~ hOM

saMgait kr rho qao iksaI AsaavaQaanaI sao yaa BaUla sao gau$jaI nao pM. caunnaIlaala ko ek Baa pM. dugaa-p`saad AaOr ek baihna zoka dugauna laya maoM AarMBa ikyaa ivad\vaana risak rajaa saahba qaIM baihna ka ivavaah pM. hnaumaanap`saad jaI ko saaqa huAa kI BaaOMhoM tna gaM AaOr vao jayalaala jaI kI trf doK kr pM. maaohnalaala pM. icarMjaIlaala AaOr gau$ naarayaNap`saad mauskrae gau$ jayalaala jaI kuC xaNa ko AaOr Apmaana BarI jaI pM. hnaumaanap`saad jaI ko pu~ qao pM. kuMdnalaala jaI jaao dRiYT sao Apnao Baa kI trf doKa AMt maoM QaOya- Kaokr ]nhoM ABaI kqak koMd` idllaI maoM gau$ ko pd pr hOM gau$ DaTa tqaa tbalaa ].AjaIma Ka kao donao ka inado-Sa idyaa naarayaNap`saad jaI kI baihna ko pu~ hOM kqak koMd` jayapur Apnao kao Apmaainat AnauBava kr gau$jaI nao ]saI idna rayagaZ, maoM gau$ pM. gaaOrISaMkr pM. sauMdr p`saad jaI ko ivdtIya cacaoro CaoD, idyaa AaOr baMba calao Aae Apnao caacaa dugaa-p`saad jaI Baa hOM ko carNaaoM maoM igar kr fUT fUTkr raonao lagao AaOr ]sa du Kd

pM. hnaumaanap`saad Apnao pirvaar AaOr Baa pM.hirp`saad ko GaTnaa ka ivavarNa saunaanao lagao mahana\ iSaxak evaM naR%ya AaOr

saaqa gaaopalapura sao jayapur calao Aae AaOr ApnaI p%naI ko saMgaIt ko AiQakRt ivad\vaana pM.dugaa-p`saad jaI nao Apnao

AnauraoQa pr pM. caunnaIlaala AaOr ]nako pirvaar kao jayapur BatIjao kao AaSvast ikyaa AaOr p`iSaxaNa ko ilae Apnao pasa

baulaa ilayaa [sa p`kar saBaI Baa [sa prMpragat klaa kI rK ilayaa ]nhaoMnao gau$jaI kao layakarI kI baarIikyaaoM kI

saaQanaa ko ilae saaqa rhnao lagao yauvajana ekdUsaro sao spQaa- iSaxaa dI tqaa kqak ko Anya mah%%vapUNa- AMga batae pM.

krto qao [sa p`kar [sa mahana klaa maoM p`vaINata p`aPt krnao dugaa-p`saad sao hI gau$jaI nao jaait yait ma laya AaOr

ko ilae svasqa vaatavarNa bana jaata naaiyaka Baod tqaa Anya mah%%vapUNa- ivaYayaaoM ka &ana p`aPt

ikyaa gau$jaI ka Apnao caacaa ko p`it baD,a Aadr Baava qaa pM. caunnaIlaala nao mahsaUsa ikyaa ik ]nako dao pu~aoM ko ilae [sa AaOr vao ]nakI p`SaMsaa krto nahIM AGaato qao kha krto qao ik klaa ka vyaapk &ana p`aPt krnaa AavaSyak hO At jaIvana maoM eosaa vyai> nahIM doKa vao na kovala saMgaIt evaM naR%ya ]nhaoMnao Apnao pu~aoM pM. jayalaala AaOr pM.sauMdrp`saad kao ko AiQakRt ivad\vaana qao bailk jyaaoitYa tM~ maM~ Saas~ ]nako maamaa ravatap`saad jaI ko saaqa sana\ 1910 AaOr 1915 ka BaI ]nhoM AsaaQaarNa &ana qaa ]nhaoMnao BaivaYyavaaNaI kI qaI ko baIca iksaI vaYa- maoM laKna} Baojaa vaha ]nhaoMnao laKna} ik gau$jaI naR%ya ivaVa maoM baD,I }caa pr phucaoMgao AaOr ]nhoM Garanao ko iva#yaat idggaja gau$ maharaja ibaMdadIna sao gahna naama tqaa yaSa imalaogaa gau$jaI kBaI kBaI ivanaaod maoM ivaica~ p`iSaxaNa p`aPt ikyaa ijasasao ]nhoM na dRiYT imalaI tqaa naakIsaur sao gau$ dugaa-p`saad kI baaolanao kI nakla ikyaa krto jayapur maoM ]nhaoMnao jaao kuC saIKa qaa ]sao vyaapkta AaOr bala qao rayagaZ, kI GaTnaa sao gau$jaI [tnao mamaa-ht hue qao ik imalaa gau$ jaI ko laKna} jaanao AaOr maharaja ibaMdadIna sao ]nhaoMnao Apnaa naama sauMdrlaala sao badlakr sauMdrp`saad kr p`iSaxaNa p`aPt krnao saMbaMQaI ivavaadaoM sao maOM piricat hU maoro ilayaa yaaina Apnao naama sao laala Sabd hTakr p`saad kr kqana ka AaQaar pM.ravata jaI gau$ AcCna maharaja gau$ idyaa ]nhaoMnao saaocaa ik Apnao gau$ caacaa dugaa-p`saad jaI ko lacCU maharaja evaM laKna} ko pM.sarjaU maharaja jaao p`it ?NaI haonao ka p`dSa-na [saI p`kar sao hao sakta hO maharaja ibaMdadIna ko iSaYya qao d\vaara p`d%t tqya hOM ek

Anya mah%%vapUNa- baat yah hO ik mauJao iSaxaa doto samaya pM. vah samaya Aa gayaa jabaik gau$jaI nao AnauBava ikyaa ik vao

AcCna maharaja nao prMpragat gaMDabaMQana ka inavaa-h nahIM ikyaa rayagaZ, ko p`itiYzt klaakaraoM ka mauk,abalaa krnao ko ilae

@yaaoMik maOM gau$ pM.sauMdrp`saad ka iSaYya qaa AaOr gau$jaI evaM pUrI trh p`iSaixat evaM tOyaar hOM Apnao caacaa evaM gau$ ka

AcCna maharaja gau$Baa qao maOMnao tqya rKo hOM AaOr [sa ivaYaya AaSaIvaa-d p`aPt kr vao rayagaZ, ko ilae rvaanaa hao gae

pr iksaI vaad ivavaad maoM nahIM pD,naa caahta yah sava-ivaidt saMBavat yah sana\ 1931 32 ka samaya qaa gau$ jayalaala jaI

tqya hO ik maharaja ibaMdadIna ko p`it gau$jaI ka baD,a Aadr rayagaZ, kI GaTnaa sao vastut baD,o duKI qao ijasako karNa

05

]stad Alaa]ddIna Ka saMgaIt AkadmaI, Baaopala d\vaara isatMbar

1982 maoM Aayaaoijat kqak p`saMga maoM pizt AalaoK

Eawoya gau$ pM. sauMdrp`saad jaI ka smarNa Aato hI maoro saiya

jaIvana ko 47 vaYaao-M ka jaIvaMt icat` ]Bar Aata hO yah AvaiQa maOMnao

kqak naR%ya kI saovaa maoM ibata

16 jaulaa, 1935 ka idna maoro ilae prma saaOBaagyaSaalaI AaOr

AivasmarNaIya idna qaa, jabaik gau$ jaI nao prMpragat gaMDabaMQana ko

saaqa mauJao Apnao iSaYya ko p maoM svaIkar ikyaa ]sa idna maOMnao prma

saMtaoYa ka AnauBava ikyaa maOMnao AnauBava ikyaa ik AMtt maOMnao vah

pa ilayaa ijasakI mauJao tlaaSa qaI BaTktI rah sao mauJao sahI rah

ka saMQaana imala gayaa maorI daM klaa pr baQaa laala AaOr pIlaa

gaMDa maoro AaOr gau$ jaI ko baIca icarsnaoh AaOr Pyaar ko baMQana ka

p`tIk bana gayaa yah svaIkar krnao maoM mauJao tinak BaI ihcak nahIM

ik Aaja maOM jaao kuC hU AaOr maorI jaao BaI ]plaibQa kqak naR%ya maoM

hO ]saka pUra Eaoya gau$ jaI kaO hO vastut yah saMpUNa- ]plaibQa

gau$ jaI kI AnaukMpa evaM haid-k snaoh ka p`itfla hO

gau$ sauMdr p`saad jaI ka janma sana \ 1868 maoM rajasqaana ko krvaaD,I

gaava maoM huAa ]nako ipta ka naama pM. caunnaIlaala qaa gau$ jaI ko

dao Baa evaM ek baihna qaI baDo, Baa qao iva#yaat gau$

pM.jayalaala jaI jaao baad maoM pM.kait-krama puvaOyaa baihnaaoM AaOr

pM.saaohnalaala jaI tqaa Anya k nat-k nat-ikyaaoM ko gau$ rho

Aaja maOM jaao kuC hU AaOr

maorI jaao BaI ]plaibQa k k naR%ya maoM hO

]saka pUra Eaoya gau$jaIkao hO

vastut yah saMpUNa- ]plaibQa

gau$jaIkI AnaukMpa evaM

haid-k snaoh ka p`itfla hO

qa

gau$ pM. sauMdr p`saad jaI

maaohnarava klyaaNapUrkr

ku.jayakumaarI gau$ jayalaala kI pu~I qaIM ]nako pu~ qao Baava qaa jaao Ant samaya tk banaa rha

pM.ramagaaopala ijanaka kuC vaYaao-M pUva- klak%ta maoM inaQana hao `sana\ 1926 30 maoM rayagaZ, ko raja cakQarisaMh ko drbaar kI gayaa gau$ jaI ko CaoTo Baa ka naama qaa pM.maalaU jaI jaao sana ek GaTnaa sao gau$jaI ko jaIvana maoM ek icarsmarNaIya maaoD, \ 193035 maoM iksaI samaya baMba sao Acaanak laapta hao gae Aayaa jaOsaa ik gau$jaI nao batayaa GaTnaa [sa p`kar hO baihna laCmaa ka ivavaah pM.BaUralaala ko saaqa huAa iflma

gau$ jayalaala jaI Apnaa naR%ya kaya-ma AarMBa krnao vaalao qao jagat\ ko dao iva#yaat naR%ya inado-Sak sva. pM. saaohnalaala AaOr

saarMgaI pr lahra Ait ivalaMibat laya maoM qaa gau$jaI tbalao pr sva.pM. hIralaala pM. BaUralaala ko pu~ hOM

saMgait kr rho qao iksaI AsaavaQaanaI sao yaa BaUla sao gau$jaI nao pM. caunnaIlaala ko ek Baa pM. dugaa-p`saad AaOr ek baihna zoka dugauna laya maoM AarMBa ikyaa ivad\vaana risak rajaa saahba qaIM baihna ka ivavaah pM. hnaumaanap`saad jaI ko saaqa huAa kI BaaOMhoM tna gaM AaOr vao jayalaala jaI kI trf doK kr pM. maaohnalaala pM. icarMjaIlaala AaOr gau$ naarayaNap`saad mauskrae gau$ jayalaala jaI kuC xaNa ko AaOr Apmaana BarI jaI pM. hnaumaanap`saad jaI ko pu~ qao pM. kuMdnalaala jaI jaao dRiYT sao Apnao Baa kI trf doKa AMt maoM QaOya- Kaokr ]nhoM ABaI kqak koMd` idllaI maoM gau$ ko pd pr hOM gau$ DaTa tqaa tbalaa ].AjaIma Ka kao donao ka inado-Sa idyaa naarayaNap`saad jaI kI baihna ko pu~ hOM kqak koMd` jayapur Apnao kao Apmaainat AnauBava kr gau$jaI nao ]saI idna rayagaZ, maoM gau$ pM. gaaOrISaMkr pM. sauMdr p`saad jaI ko ivdtIya cacaoro CaoD, idyaa AaOr baMba calao Aae Apnao caacaa dugaa-p`saad jaI Baa hOM ko carNaaoM maoM igar kr fUT fUTkr raonao lagao AaOr ]sa du Kd

pM. hnaumaanap`saad Apnao pirvaar AaOr Baa pM.hirp`saad ko GaTnaa ka ivavarNa saunaanao lagao mahana\ iSaxak evaM naR%ya AaOr

saaqa gaaopalapura sao jayapur calao Aae AaOr ApnaI p%naI ko saMgaIt ko AiQakRt ivad\vaana pM.dugaa-p`saad jaI nao Apnao

AnauraoQa pr pM. caunnaIlaala AaOr ]nako pirvaar kao jayapur BatIjao kao AaSvast ikyaa AaOr p`iSaxaNa ko ilae Apnao pasa

baulaa ilayaa [sa p`kar saBaI Baa [sa prMpragat klaa kI rK ilayaa ]nhaoMnao gau$jaI kao layakarI kI baarIikyaaoM kI

saaQanaa ko ilae saaqa rhnao lagao yauvajana ekdUsaro sao spQaa- iSaxaa dI tqaa kqak ko Anya mah%%vapUNa- AMga batae pM.

krto qao [sa p`kar [sa mahana klaa maoM p`vaINata p`aPt krnao dugaa-p`saad sao hI gau$jaI nao jaait yait ma laya AaOr

ko ilae svasqa vaatavarNa bana jaata naaiyaka Baod tqaa Anya mah%%vapUNa- ivaYayaaoM ka &ana p`aPt

ikyaa gau$jaI ka Apnao caacaa ko p`it baD,a Aadr Baava qaa pM. caunnaIlaala nao mahsaUsa ikyaa ik ]nako dao pu~aoM ko ilae [sa AaOr vao ]nakI p`SaMsaa krto nahIM AGaato qao kha krto qao ik klaa ka vyaapk &ana p`aPt krnaa AavaSyak hO At jaIvana maoM eosaa vyai> nahIM doKa vao na kovala saMgaIt evaM naR%ya ]nhaoMnao Apnao pu~aoM pM. jayalaala AaOr pM.sauMdrp`saad kao ko AiQakRt ivad\vaana qao bailk jyaaoitYa tM~ maM~ Saas~ ]nako maamaa ravatap`saad jaI ko saaqa sana\ 1910 AaOr 1915 ka BaI ]nhoM AsaaQaarNa &ana qaa ]nhaoMnao BaivaYyavaaNaI kI qaI ko baIca iksaI vaYa- maoM laKna} Baojaa vaha ]nhaoMnao laKna} ik gau$jaI naR%ya ivaVa maoM baD,I }caa pr phucaoMgao AaOr ]nhoM Garanao ko iva#yaat idggaja gau$ maharaja ibaMdadIna sao gahna naama tqaa yaSa imalaogaa gau$jaI kBaI kBaI ivanaaod maoM ivaica~ p`iSaxaNa p`aPt ikyaa ijasasao ]nhoM na dRiYT imalaI tqaa naakIsaur sao gau$ dugaa-p`saad kI baaolanao kI nakla ikyaa krto jayapur maoM ]nhaoMnao jaao kuC saIKa qaa ]sao vyaapkta AaOr bala qao rayagaZ, kI GaTnaa sao gau$jaI [tnao mamaa-ht hue qao ik imalaa gau$ jaI ko laKna} jaanao AaOr maharaja ibaMdadIna sao ]nhaoMnao Apnaa naama sauMdrlaala sao badlakr sauMdrp`saad kr p`iSaxaNa p`aPt krnao saMbaMQaI ivavaadaoM sao maOM piricat hU maoro ilayaa yaaina Apnao naama sao laala Sabd hTakr p`saad kr kqana ka AaQaar pM.ravata jaI gau$ AcCna maharaja gau$ idyaa ]nhaoMnao saaocaa ik Apnao gau$ caacaa dugaa-p`saad jaI ko lacCU maharaja evaM laKna} ko pM.sarjaU maharaja jaao p`it ?NaI haonao ka p`dSa-na [saI p`kar sao hao sakta hO maharaja ibaMdadIna ko iSaYya qao d\vaara p`d%t tqya hOM ek

Anya mah%%vapUNa- baat yah hO ik mauJao iSaxaa doto samaya pM. vah samaya Aa gayaa jabaik gau$jaI nao AnauBava ikyaa ik vao

AcCna maharaja nao prMpragat gaMDabaMQana ka inavaa-h nahIM ikyaa rayagaZ, ko p`itiYzt klaakaraoM ka mauk,abalaa krnao ko ilae

@yaaoMik maOM gau$ pM.sauMdrp`saad ka iSaYya qaa AaOr gau$jaI evaM pUrI trh p`iSaixat evaM tOyaar hOM Apnao caacaa evaM gau$ ka

AcCna maharaja gau$Baa qao maOMnao tqya rKo hOM AaOr [sa ivaYaya AaSaIvaa-d p`aPt kr vao rayagaZ, ko ilae rvaanaa hao gae

pr iksaI vaad ivavaad maoM nahIM pD,naa caahta yah sava-ivaidt saMBavat yah sana\ 1931 32 ka samaya qaa gau$ jayalaala jaI

tqya hO ik maharaja ibaMdadIna ko p`it gau$jaI ka baD,a Aadr rayagaZ, kI GaTnaa sao vastut baD,o duKI qao ijasako karNa

05

]stad Alaa]ddIna Ka saMgaIt AkadmaI, Baaopala d\vaara isatMbar

1982 maoM Aayaaoijat kqak p`saMga maoM pizt AalaoK

Eawoya gau$ pM. sauMdrp`saad jaI ka smarNa Aato hI maoro saiya

jaIvana ko 47 vaYaao-M ka jaIvaMt icat` ]Bar Aata hO yah AvaiQa maOMnao

kqak naR%ya kI saovaa maoM ibata

16 jaulaa, 1935 ka idna maoro ilae prma saaOBaagyaSaalaI AaOr

AivasmarNaIya idna qaa, jabaik gau$ jaI nao prMpragat gaMDabaMQana ko

saaqa mauJao Apnao iSaYya ko p maoM svaIkar ikyaa ]sa idna maOMnao prma

saMtaoYa ka AnauBava ikyaa maOMnao AnauBava ikyaa ik AMtt maOMnao vah

pa ilayaa ijasakI mauJao tlaaSa qaI BaTktI rah sao mauJao sahI rah

ka saMQaana imala gayaa maorI daM klaa pr baQaa laala AaOr pIlaa

gaMDa maoro AaOr gau$ jaI ko baIca icarsnaoh AaOr Pyaar ko baMQana ka

p`tIk bana gayaa yah svaIkar krnao maoM mauJao tinak BaI ihcak nahIM

ik Aaja maOM jaao kuC hU AaOr maorI jaao BaI ]plaibQa kqak naR%ya maoM

hO ]saka pUra Eaoya gau$ jaI kaO hO vastut yah saMpUNa- ]plaibQa

gau$ jaI kI AnaukMpa evaM haid-k snaoh ka p`itfla hO

gau$ sauMdr p`saad jaI ka janma sana \ 1868 maoM rajasqaana ko krvaaD,I

gaava maoM huAa ]nako ipta ka naama pM. caunnaIlaala qaa gau$ jaI ko

dao Baa evaM ek baihna qaI baDo, Baa qao iva#yaat gau$

pM.jayalaala jaI jaao baad maoM pM.kait-krama puvaOyaa baihnaaoM AaOr

pM.saaohnalaala jaI tqaa Anya k nat-k nat-ikyaaoM ko gau$ rho

Aaja maOM jaao kuC hU AaOr

maorI jaao BaI ]plaibQa k k naR%ya maoM hO

]saka pUra Eaoya gau$jaIkao hO

vastut yah saMpUNa- ]plaibQa

gau$jaIkI AnaukMpa evaM

haid-k snaoh ka p`itfla hO

qa

gau$ pM. sauMdr p`saad jaI

maaohnarava klyaaNapUrkr

p`stava rKa gau$jaI p`sanna hue AaOr [sako ilae vao t%kala doK rho qao maorI dRiYT BaI ]nakI Aaor qaI AaOr To/na ko gait

tOyaar hao gae yah saaOBaagya kI baat hO ik saMsqaa ko ilae hmaoM pkD,nao ko saaqa gau$jaI ka Aakar CaoTa haota jaa rha qaa

gaamadovaI xao~ maoM sqaana BaI imala gayaa Aap ivaSvaasa kroM yaa na baMba[- maoM skUla sqaaipt haonao ko kuC maah pUva- gau$jaI ApnaI kroM sqaana pr fnaI-car lagaanao AaOr AavaSyak saaja, laanao ko p%naI kao baMba[- laonao Aae qao yah duBaa-gya hO ik gau$jaI ka ilae maOMnao ek pOsaa BaI Kca- nahIM ikyaa hr vastu yaha tk pairvaairk jaIvana sauKI nahIM qaa jaOsaI ik Apoxaa qaI p%naI ik GauGa$ BaI maoro saMbaMiQayaaoM Wara Anaudana sva$p ide gae ko p`it haid-k p`oma ko baavajaUd ]sako saaqa ivavaad hao hI jaata [sa p`kar sana\ 1937 maoM maharaja ibaMdadIna skUla Aa^f DaMsa qaa baccaaoM ko maamalao maoM BaI [-Svar kI ivaSaoYa dyaa nahIM qaI ek saado samaaraoh ko saaqa AarMBa huAa gau$ lacCU maharaja p`qama baccaI qaI ijasaka janma ivavaah ko k[- vaYaao-M baad huAa ]sa samaya ]pisqat qao AaOr gaRh pUjaa ko pScaat\ ]nhaoMnao maOM gau$jaI bahut p`sanna qao ikMtu yah KuSaI Alpkailak hI qaI tao KolaUgaI ]nhIM sao haorI gau[-yaa pr AiBanaya p`stut ikyaa dao taIna vaYa- kI Aayau maoM ]sa baailaka kao inamaaoinayaa huAa

saMgaIt evaM naR%ya ko k[- p`itiYzt klaakar gau$jaI sao imalanao AaOr saba p`kar kI icaik%saa sauivaQaa ko baavajaUd ]sao bacaayaa

ko ilae Aanao lagao EaI maaQavaisaMh pKavajaI pM.AlakuTkr nahIM jaa saka [sa isqait maoM ]nhoM SaaMt krnaa BaI kizna hao

pKavajaI pM. Kap$ jaI ].Samasau_Ina K,a tbalaa gayaa maharaja ibaMdadIna kI tsvaIr ko saamanao baOzkr KUba raoe

]. AmaIr K,a saahba EaI saaohnalaala EaI gaaOrISaMkr tqaa AaOr Anaunaya p`aqa-naa kI ik iksa pap kI sajaa mauJao imala

jayapur Garanao ko k[- kqak yaha Aato qao [na p`itiYzt rhI hO gau$jaI maharaja ibaMdadIna kI pUjaa p`itidna ikyaa

ivaWanaaoM ko AapsaI ivacaar ivamaSa- sao maOM baD,a laaBaainvat haota krto qao

qaa gau$ jayalaala jaI ek baar kuC idnaaoM tk Apnao Baa[- ko kuC vaYaao-M baad gau$jaI kao ek pu~ huAa ]nakI KuSaI ka saaqa rho AaOr ]nakI pu~I ku.jayakumaarI ko iryaaj,a kao doKnao par nahIM qaa baalak vaastva maoM p`itBaa ka QanaI qaa ka mauJao saaOBaagya imalaa iryaaja, kI gait AaOr [sako ilae maa baabaa baaolanao sao phlao hI vah Japtala ka pUra zoka ide jaa rho samaya sao maOM AaScaya-caikt hao jaata skUla ko baaolanao lagaa qaa dao tIna vaYa- kI Aayau maoM hI vah gau$jaI ko SaaMt vaatavarNa sao gau$jaI navasaja-na ko ilae p`oirt hue [sa pasa baOz jaata jabik gau$jaI Apnao iSaYyaaoM kao iSaxaa dotop`kar gau$ jayalaala jaI ko saaqa hue ivacaar ivamaSa- sao qao yaid iSaYya galatI krta Aqavaa tala caUk jaata tao vah talamaalaa ka janma huAa gaMgaa jamanaI tala i~vaoNaI baalak ApnaI naarajagaI huMkar sao vya> krta yah vaastva maoM AaOr naaiyakamaalaa ]nakI ApnaI inaima-it qaIM ]nhaoMnao svayaM AaScaya-janak qaa vah caarpaca vaYa- kI Aayau maoM tbalaa ijana gataoM kI saRiYT kI vao hOM Basmaasaur maaoihnaI bajaanao lagaa qaa gau$jaI lahra bajaato AaOr jaba Anya tala Aihlyaa ]war kama dhna AaOr maaKnacaaorI ka lahra bajata tao baalak zoka badla dota kailayaa dmana haolaI tqaa d`aopdI vas~hrNa maoro

gau$jaI iksaI karNavaSa baMba[- CaoD,kr Apnao pirvaar ko saaqa K,yaala sao Aaja ijasao baD,I gat kha jaata hO vah gau$jaI

Ahmadabaad calao gae vaha yah baalak AakYa-Na ka koMd` bana kI saRiYT hO skUla maoM Aanaovaalao Anya vyai> qao

gayaa kuC hI mahInaaoM maoM gau$jaI nao kafI Qana kmaayaa AaOr Da^.esa.ena.rataMjankr AaOr maoDma maonaka

AanaMd sao pairvaairk jaIvana ibata rho qao Apnao Svasaur ko Da^.rataMjankr nao maora naR%ya doKkr sauJaava idyaa ik maOM

AnauraoQa pr ]nhaoMnao ApnaI p%naI AaOr pu~ kao gaava Baoja idyaa laKna} isqat maOirsa ka^laoja maoM jaa} ]sa samaya

vaha dudO-va sao ek duGa-Tnaa GaTI pu~ Kot maoM mala %yaaga ko Da^.rataMjankr maOirsa ka^laoja ko ip`Misapla qao maoro saMbaMiQayaaoM nao

ilae gayaa jaha ]sao sap- nao Dsa ilayaa iksaI p`kar kI [sa sauJaava ka samaqa-na ikyaa AaOr mauJao maOirsa ka^laoja jaanao kI

icaik%saa ko pUva- hI vah baalak [sa saMsaar sao cala basaa salaah dI AarMBa maoM gau$jaI mauJao CaoD,nao kao tOyaar nahIM qao

gau$jaI kao Asamaya Qa@ka lagaa AaOr vastut vao Apnaa ikMtu baad maoM kha baoTa maaohna maoro gauWara laKna}

saMtulana hO Kao baOzo ]nhaoMnao baad maoM mauJao bataayaa ik vao gau$ jaanao sao maOM tumhoM kOsao raok sakta hU yaid tuma vaastva maoM jaanaa

maharaja ibaMdadIna ka ica~ CatI sao icapkae idSaahara hao caahto hao tao maorI Anaumait hO tuma baD,o Baagyavaana hao At

kr GaUmaa krto qao gau$jaI ko BatIjao pM.saaohnalaala nao jaba maOM 9 Agast 1939 kao laKna} ko ilae rvaanaa hao gayaa

saunaa tao vao gau$jaI AaOr ]nakI p%naI kao mad`asa lao gae ivada[- kI [sa vaolaa maoM jaba maOMnao gau$jaIo ko carNa Cue tao vao rao

pM.saaohnalaala nao iflma jagat\ maoM AcCa naama kmaayaa qaa AaOr pD,o vah dRSya Aaja BaI maorI AaKaoM ko saamanao hO jabaik

]nako Bavya bagalaa AaOr Aasapasa ko SaaMt vaatavarNa sao gau$jaI vaI.TI.sToSana pr KD,o qao AaOr inasahaya maorI Aaor

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]nako Baa kao rayagaZ, CaoD,naa pD,a AaOr jaba ]nhaoMnao Apnao ApnaI ivaSaoYata qaI gaayak ].AmaIr K,a ko jaao saMgaIt

Baa kao saaxaat\ saamanao Aato doKa tao ]nako AanaMd ka inado-Sak qao vaaV saMgaIt saMyaaojana sao baMidSaaoM kao ek ApUva-

izkanaa na rha vaastva maoM yah AanaMdaEaupUNa- punaima-lana qaa nayaa rMga imala jaata qaa maorI dRiYT maoM gau$jaI kI EaoYz saja-

gau$ jayalaala nao ]nhoM galao lagaa ilayaa AaOr xamaa yaacanaa kI naa%mak kRit qaI raqaa kRYNa yaugala naR%ya [samaoM ]nhaoMnao

gau$jaI nao Apnao Baa ka carNa spSa- krto hue kha ip`ya svayaM Bagavaana kRYNa ko $p maoM naR%ya ikyaa AaOr raQaa qaI saIta

Ba`ata jaao BaI huAa vah AcCo ko ilae hI huAa yaid Aap baasaurI pr raga pIlaU maoM ivalaMibat lahra cala rha qaa AaOr ]saI

mauJao Da^Tto nahIM tao mauJao Apnao ivad\vaana caacaa pM.dugaa-p`saad ko saaqa naR%ya AarMBa huAa vah lahra Aaja BaI maoro kanaaoM maoM

sao saIKnao ka Avasar kBaI nahIM imalata rajaasaahba kao BaI gaUja rha hO yah ]%kRYT baMidSa pUNa-t zaz AaOr gat pr

yah jaanakr p`sannata hu ik gau$jaI vaapsa Aa gae AaOr vah AaQaairt qaI [sako pScaat\ gau$jaI nao kBaI iksaI ko saaqa

BaI pM.dugaa-p`saad sao iSaxaa p`aPt kr jaOsaa ik rajaa saahba yaugala naR%ya nahIM ikyaa ]nakI Anya baMidSaaoM maoM hOM ivaiBanna

ka svaBaava qaa ]nhaoMnao ek idna gau$jaI kao Apnao drbaar ko naaiyakaAaoM kI gatoM ijanamaoM AiBasaairka gat kI baD,I

ek bahut p`vaINa tbailae ko ivaQd KD,a kr idyaa AaOr p`SaMsaa hu[- [sa ivaiSaYT gat ko saIKnao ko ilae iva#yaat

[cCa p`kT kI ik gau$jaI p`qama Aamad maoM hI sama pr ]nhoM kqak naR%yaaMganaa maoDma maonaka nao ]nhoM KMDalaa isqat ApnaI

prast kroM yah ek bahut baD,a AadoSa qaa ikMtu gau$jaI nao saMsqaa maoM AamaMi~t ikyaa

[sao iSaraoQaaya- kr ]stad kao maSa dao baar prast kr idyaa yah ]llaoKnaIya hO ik puvaOyaa baihnaaoM ko AnauraoQa pr kaya-ma gau$jaI kI mahana ]plaibQa pr rajaasaahba nao p`sannata p`kT ko AarMBa maoM gaNaoSa stuit AaOr gaNaoSa prNa naacanao ka p`vat-kI AaOr ]nakI BaUir BaUir p`SaMsaa kI gau$jaI kI Anya na gau$jaI nao ikyaa mauJao ABaI tk smarNa hO ik ica~a nao klaa%mak ]plaibQa qaI iksaI tala ivaSaoYa ko ek Aavat-na ]nnaIsa maa~aAaoM kI tala maoM inabaw ek baMidSa kI p`stuit maoM ko saaqa gaulaala maoM pUra ica~ AMikt krnao kI ]nakI xamata safla p`dSa-na ikyaa mauJao svayaM eosao dao raomaaMcakarI p`dSa-na doKnao ka saaOBaagya imalaa

puvaOyaa baihnaaoM ka naR%ya kaya-ma Ainavaaya-t gau$jaI ko hO jabaik gau$jaI nao tInatala maoM sama sao sama tk haqaI

saMixaPt prMpragat kqak naR%ya ko saaqa haota qaa [sa saMbaMQa maoM ka ica~ AMikt ikyaa ivaWana evaM catur rajaa saahba nao ek

saIta baD,o ivanaaod sao batatI hOM ik iksa p`kar gau$jaI Wara baar gau$jaI kao dadra tala maoM haqaI AMikt krnao kI caunaaOtI

galat vyaa#yaa ko pirNaamasva$p ek gat ka inamaa-Na huAa dI ]nhoM AaSaa qaI ik gau$jaI pICo hT jaaegao @yaaoMik C

saIta nao gau$jaI kao prMpragat kqak SaOlaI maoM saaolaao maa~aAaoM maoM haqaI AMikt krnaa p`aya AsaMBava qaa ikMtu

ekakI naR%ya poSa krnao ko ilae manaanaa caaha saIta nao gau$jaI nao caunaaOtI svaIkar kI AaOr dadra kao ivalaMibat laya maoM

gau$jaI sao kha gau$jaI @yaa hmaaro p`aoga`ama maoM Aap saaolaao rKkr haqaI AMikt kr sabakao AaScaya-caikt kr idyaa

nahIM naaca sakto hOM gau$jaI nao saaolaao ka galat Aqa- jaba gau$jaI nao rayagaZ, CaoD,a tba raja caQarisaMh nao ]nakI lagaayaa AaOr kha baoTI ijatnaa saaolaao slaao khao haid-k p`Saist kI AaOr ]nakI ]plaibQayaaoM ko ilae ilaiKt ]tnaa saaolaaoslaao ivalaMibat naaca sakta hU khao tao p`Saist p~ p`dana ikyaa maOMnao gau$jaI ko pasa yah p`Saist ivalaMibat laya maoM gat naacaU saIta nao AnauBava ikyaa ik p~ doKa hO rayagaZ, maoM yaSa p`aPt krnao ko baad gau$jaI sana\ gau$jaI nao Sabd kao galat Aqa- maoM ilayaa hO ikMtu vah yah 1932 33 maoM baMba Aa gae AaOr Apnao caacaa pM.dugaa-p`saad jaananao kao ]%sauk qaI ik gau$jaI @yaa krto hOM ]sanao gau$jaI ko AadoSa pr ]nhaoMnao kuC iSaYyaaoM kao p`iSaxaNa donaa AarMBa kao gat banaanao ko ilae p`oirt ikyaa [sa p`kar SaoYaSaayaI ikyaa ]nakI p`qama iSYyaa qaIM iva#yaat kvaiya~I saraoijanaI ivaYNau gat ka janma huAa jaao Apnao ZMga kI ek hI gat hO naayaDU kI baihna EaImatI saunaailanaIdovaI ]sako baad qaIM

AaScaya- AaOr duK kI baat yah hO ik AcCI baat p`aya dIGa-iva#yaat puvaOyaa baihnaoM saIta ica~a evaM lata puvaOyaa baihnaaoM

jaIvaI nahIM rhtI iksaI galatfhmaI ko karNa gau$jaI ka ko saMpk- sao gau$jaI kI saRjanaa%mak p`itBaa ko ilae AnaukUla

puvaOyaa baihnaaoM sao saMbaMQa ivacCod hao gayaa yah samaya qaa sana\ vaatavarNa inaima-t huAa ]nako sauJaava AaOr kqaavastu ko

1936 ka ]sa samaya maOM gau$jaI sao iSaxaa lao rha qaa ijasa AaQaar pr gau$jaI maMca p`stuit ko ilae sauMdr baMidSaoM banaa doto

samaya maOMnao mahsaUsa ikyaa ik puna maola kI kao[- saMBaavanaa nahIM hO jaao prMpra ko Anau$p haotIM saItahrNa jaTayau vaQa

AaOr gau$jaI BaarI Aaiqa-k kiznaa[- maoM hOM tba maOMnao Eawoya gau$ mauid`ka ko saaqa hnaumaana ka laMkavaaiTka maoM Aagamana

maharaja ibaMdadIna ko naama pr ek saMsqaa sqaaipt krnao ka laMkadhna jaOsao ramaayaNa ko p`saMgaaoM ko p`stutIkrNa kI

p`stava rKa gau$jaI p`sanna hue AaOr [sako ilae vao t%kala doK rho qao maorI dRiYT BaI ]nakI Aaor qaI AaOr To/na ko gait

tOyaar hao gae yah saaOBaagya kI baat hO ik saMsqaa ko ilae hmaoM pkD,nao ko saaqa gau$jaI ka Aakar CaoTa haota jaa rha qaa

gaamadovaI xao~ maoM sqaana BaI imala gayaa Aap ivaSvaasa kroM yaa na baMba[- maoM skUla sqaaipt haonao ko kuC maah pUva- gau$jaI ApnaI kroM sqaana pr fnaI-car lagaanao AaOr AavaSyak saaja, laanao ko p%naI kao baMba[- laonao Aae qao yah duBaa-gya hO ik gau$jaI ka ilae maOMnao ek pOsaa BaI Kca- nahIM ikyaa hr vastu yaha tk pairvaairk jaIvana sauKI nahIM qaa jaOsaI ik Apoxaa qaI p%naI ik GauGa$ BaI maoro saMbaMiQayaaoM Wara Anaudana sva$p ide gae ko p`it haid-k p`oma ko baavajaUd ]sako saaqa ivavaad hao hI jaata [sa p`kar sana\ 1937 maoM maharaja ibaMdadIna skUla Aa^f DaMsa qaa baccaaoM ko maamalao maoM BaI [-Svar kI ivaSaoYa dyaa nahIM qaI ek saado samaaraoh ko saaqa AarMBa huAa gau$ lacCU maharaja p`qama baccaI qaI ijasaka janma ivavaah ko k[- vaYaao-M baad huAa ]sa samaya ]pisqat qao AaOr gaRh pUjaa ko pScaat\ ]nhaoMnao maOM gau$jaI bahut p`sanna qao ikMtu yah KuSaI Alpkailak hI qaI tao KolaUgaI ]nhIM sao haorI gau[-yaa pr AiBanaya p`stut ikyaa dao taIna vaYa- kI Aayau maoM ]sa baailaka kao inamaaoinayaa huAa

saMgaIt evaM naR%ya ko k[- p`itiYzt klaakar gau$jaI sao imalanao AaOr saba p`kar kI icaik%saa sauivaQaa ko baavajaUd ]sao bacaayaa

ko ilae Aanao lagao EaI maaQavaisaMh pKavajaI pM.AlakuTkr nahIM jaa saka [sa isqait maoM ]nhoM SaaMt krnaa BaI kizna hao

pKavajaI pM. Kap$ jaI ].Samasau_Ina K,a tbalaa gayaa maharaja ibaMdadIna kI tsvaIr ko saamanao baOzkr KUba raoe

]. AmaIr K,a saahba EaI saaohnalaala EaI gaaOrISaMkr tqaa AaOr Anaunaya p`aqa-naa kI ik iksa pap kI sajaa mauJao imala

jayapur Garanao ko k[- kqak yaha Aato qao [na p`itiYzt rhI hO gau$jaI maharaja ibaMdadIna kI pUjaa p`itidna ikyaa

ivaWanaaoM ko AapsaI ivacaar ivamaSa- sao maOM baD,a laaBaainvat haota krto qao

qaa gau$ jayalaala jaI ek baar kuC idnaaoM tk Apnao Baa[- ko kuC vaYaao-M baad gau$jaI kao ek pu~ huAa ]nakI KuSaI ka saaqa rho AaOr ]nakI pu~I ku.jayakumaarI ko iryaaj,a kao doKnao par nahIM qaa baalak vaastva maoM p`itBaa ka QanaI qaa ka mauJao saaOBaagya imalaa iryaaja, kI gait AaOr [sako ilae maa baabaa baaolanao sao phlao hI vah Japtala ka pUra zoka ide jaa rho samaya sao maOM AaScaya-caikt hao jaata skUla ko baaolanao lagaa qaa dao tIna vaYa- kI Aayau maoM hI vah gau$jaI ko SaaMt vaatavarNa sao gau$jaI navasaja-na ko ilae p`oirt hue [sa pasa baOz jaata jabik gau$jaI Apnao iSaYyaaoM kao iSaxaa dotop`kar gau$ jayalaala jaI ko saaqa hue ivacaar ivamaSa- sao qao yaid iSaYya galatI krta Aqavaa tala caUk jaata tao vah talamaalaa ka janma huAa gaMgaa jamanaI tala i~vaoNaI baalak ApnaI naarajagaI huMkar sao vya> krta yah vaastva maoM AaOr naaiyakamaalaa ]nakI ApnaI inaima-it qaIM ]nhaoMnao svayaM AaScaya-janak qaa vah caarpaca vaYa- kI Aayau maoM tbalaa ijana gataoM kI saRiYT kI vao hOM Basmaasaur maaoihnaI bajaanao lagaa qaa gau$jaI lahra bajaato AaOr jaba Anya tala Aihlyaa ]war kama dhna AaOr maaKnacaaorI ka lahra bajata tao baalak zoka badla dota kailayaa dmana haolaI tqaa d`aopdI vas~hrNa maoro

gau$jaI iksaI karNavaSa baMba[- CaoD,kr Apnao pirvaar ko saaqa K,yaala sao Aaja ijasao baD,I gat kha jaata hO vah gau$jaI

Ahmadabaad calao gae vaha yah baalak AakYa-Na ka koMd` bana kI saRiYT hO skUla maoM Aanaovaalao Anya vyai> qao

gayaa kuC hI mahInaaoM maoM gau$jaI nao kafI Qana kmaayaa AaOr Da^.esa.ena.rataMjankr AaOr maoDma maonaka

AanaMd sao pairvaairk jaIvana ibata rho qao Apnao Svasaur ko Da^.rataMjankr nao maora naR%ya doKkr sauJaava idyaa ik maOM

AnauraoQa pr ]nhaoMnao ApnaI p%naI AaOr pu~ kao gaava Baoja idyaa laKna} isqat maOirsa ka^laoja maoM jaa} ]sa samaya

vaha dudO-va sao ek duGa-Tnaa GaTI pu~ Kot maoM mala %yaaga ko Da^.rataMjankr maOirsa ka^laoja ko ip`Misapla qao maoro saMbaMiQayaaoM nao

ilae gayaa jaha ]sao sap- nao Dsa ilayaa iksaI p`kar kI [sa sauJaava ka samaqa-na ikyaa AaOr mauJao maOirsa ka^laoja jaanao kI

icaik%saa ko pUva- hI vah baalak [sa saMsaar sao cala basaa salaah dI AarMBa maoM gau$jaI mauJao CaoD,nao kao tOyaar nahIM qao

gau$jaI kao Asamaya Qa@ka lagaa AaOr vastut vao Apnaa ikMtu baad maoM kha baoTa maaohna maoro gauWara laKna}

saMtulana hO Kao baOzo ]nhaoMnao baad maoM mauJao bataayaa ik vao gau$ jaanao sao maOM tumhoM kOsao raok sakta hU yaid tuma vaastva maoM jaanaa

maharaja ibaMdadIna ka ica~ CatI sao icapkae idSaahara hao caahto hao tao maorI Anaumait hO tuma baD,o Baagyavaana hao At

kr GaUmaa krto qao gau$jaI ko BatIjao pM.saaohnalaala nao jaba maOM 9 Agast 1939 kao laKna} ko ilae rvaanaa hao gayaa

saunaa tao vao gau$jaI AaOr ]nakI p%naI kao mad`asa lao gae ivada[- kI [sa vaolaa maoM jaba maOMnao gau$jaIo ko carNa Cue tao vao rao

pM.saaohnalaala nao iflma jagat\ maoM AcCa naama kmaayaa qaa AaOr pD,o vah dRSya Aaja BaI maorI AaKaoM ko saamanao hO jabaik

]nako Bavya bagalaa AaOr Aasapasa ko SaaMt vaatavarNa sao gau$jaI vaI.TI.sToSana pr KD,o qao AaOr inasahaya maorI Aaor

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]nako Baa kao rayagaZ, CaoD,naa pD,a AaOr jaba ]nhaoMnao Apnao ApnaI ivaSaoYata qaI gaayak ].AmaIr K,a ko jaao saMgaIt

Baa kao saaxaat\ saamanao Aato doKa tao ]nako AanaMd ka inado-Sak qao vaaV saMgaIt saMyaaojana sao baMidSaaoM kao ek ApUva-

izkanaa na rha vaastva maoM yah AanaMdaEaupUNa- punaima-lana qaa nayaa rMga imala jaata qaa maorI dRiYT maoM gau$jaI kI EaoYz saja-

gau$ jayalaala nao ]nhoM galao lagaa ilayaa AaOr xamaa yaacanaa kI naa%mak kRit qaI raqaa kRYNa yaugala naR%ya [samaoM ]nhaoMnao

gau$jaI nao Apnao Baa ka carNa spSa- krto hue kha ip`ya svayaM Bagavaana kRYNa ko $p maoM naR%ya ikyaa AaOr raQaa qaI saIta

Ba`ata jaao BaI huAa vah AcCo ko ilae hI huAa yaid Aap baasaurI pr raga pIlaU maoM ivalaMibat lahra cala rha qaa AaOr ]saI

mauJao Da^Tto nahIM tao mauJao Apnao ivad\vaana caacaa pM.dugaa-p`saad ko saaqa naR%ya AarMBa huAa vah lahra Aaja BaI maoro kanaaoM maoM

sao saIKnao ka Avasar kBaI nahIM imalata rajaasaahba kao BaI gaUja rha hO yah ]%kRYT baMidSa pUNa-t zaz AaOr gat pr

yah jaanakr p`sannata hu ik gau$jaI vaapsa Aa gae AaOr vah AaQaairt qaI [sako pScaat\ gau$jaI nao kBaI iksaI ko saaqa

BaI pM.dugaa-p`saad sao iSaxaa p`aPt kr jaOsaa ik rajaa saahba yaugala naR%ya nahIM ikyaa ]nakI Anya baMidSaaoM maoM hOM ivaiBanna

ka svaBaava qaa ]nhaoMnao ek idna gau$jaI kao Apnao drbaar ko naaiyakaAaoM kI gatoM ijanamaoM AiBasaairka gat kI baD,I

ek bahut p`vaINa tbailae ko ivaQd KD,a kr idyaa AaOr p`SaMsaa hu[- [sa ivaiSaYT gat ko saIKnao ko ilae iva#yaat

[cCa p`kT kI ik gau$jaI p`qama Aamad maoM hI sama pr ]nhoM kqak naR%yaaMganaa maoDma maonaka nao ]nhoM KMDalaa isqat ApnaI

prast kroM yah ek bahut baD,a AadoSa qaa ikMtu gau$jaI nao saMsqaa maoM AamaMi~t ikyaa

[sao iSaraoQaaya- kr ]stad kao maSa dao baar prast kr idyaa yah ]llaoKnaIya hO ik puvaOyaa baihnaaoM ko AnauraoQa pr kaya-ma gau$jaI kI mahana ]plaibQa pr rajaasaahba nao p`sannata p`kT ko AarMBa maoM gaNaoSa stuit AaOr gaNaoSa prNa naacanao ka p`vat-kI AaOr ]nakI BaUir BaUir p`SaMsaa kI gau$jaI kI Anya na gau$jaI nao ikyaa mauJao ABaI tk smarNa hO ik ica~a nao klaa%mak ]plaibQa qaI iksaI tala ivaSaoYa ko ek Aavat-na ]nnaIsa maa~aAaoM kI tala maoM inabaw ek baMidSa kI p`stuit maoM ko saaqa gaulaala maoM pUra ica~ AMikt krnao kI ]nakI xamata safla p`dSa-na ikyaa mauJao svayaM eosao dao raomaaMcakarI p`dSa-na doKnao ka saaOBaagya imalaa

puvaOyaa baihnaaoM ka naR%ya kaya-ma Ainavaaya-t gau$jaI ko hO jabaik gau$jaI nao tInatala maoM sama sao sama tk haqaI

saMixaPt prMpragat kqak naR%ya ko saaqa haota qaa [sa saMbaMQa maoM ka ica~ AMikt ikyaa ivaWana evaM catur rajaa saahba nao ek

saIta baD,o ivanaaod sao batatI hOM ik iksa p`kar gau$jaI Wara baar gau$jaI kao dadra tala maoM haqaI AMikt krnao kI caunaaOtI

galat vyaa#yaa ko pirNaamasva$p ek gat ka inamaa-Na huAa dI ]nhoM AaSaa qaI ik gau$jaI pICo hT jaaegao @yaaoMik C

saIta nao gau$jaI kao prMpragat kqak SaOlaI maoM saaolaao maa~aAaoM maoM haqaI AMikt krnaa p`aya AsaMBava qaa ikMtu

ekakI naR%ya poSa krnao ko ilae manaanaa caaha saIta nao gau$jaI nao caunaaOtI svaIkar kI AaOr dadra kao ivalaMibat laya maoM

gau$jaI sao kha gau$jaI @yaa hmaaro p`aoga`ama maoM Aap saaolaao rKkr haqaI AMikt kr sabakao AaScaya-caikt kr idyaa

nahIM naaca sakto hOM gau$jaI nao saaolaao ka galat Aqa- jaba gau$jaI nao rayagaZ, CaoD,a tba raja caQarisaMh nao ]nakI lagaayaa AaOr kha baoTI ijatnaa saaolaao slaao khao haid-k p`Saist kI AaOr ]nakI ]plaibQayaaoM ko ilae ilaiKt ]tnaa saaolaaoslaao ivalaMibat naaca sakta hU khao tao p`Saist p~ p`dana ikyaa maOMnao gau$jaI ko pasa yah p`Saist ivalaMibat laya maoM gat naacaU saIta nao AnauBava ikyaa ik p~ doKa hO rayagaZ, maoM yaSa p`aPt krnao ko baad gau$jaI sana\ gau$jaI nao Sabd kao galat Aqa- maoM ilayaa hO ikMtu vah yah 1932 33 maoM baMba Aa gae AaOr Apnao caacaa pM.dugaa-p`saad jaananao kao ]%sauk qaI ik gau$jaI @yaa krto hOM ]sanao gau$jaI ko AadoSa pr ]nhaoMnao kuC iSaYyaaoM kao p`iSaxaNa donaa AarMBa kao gat banaanao ko ilae p`oirt ikyaa [sa p`kar SaoYaSaayaI ikyaa ]nakI p`qama iSYyaa qaIM iva#yaat kvaiya~I saraoijanaI ivaYNau gat ka janma huAa jaao Apnao ZMga kI ek hI gat hO naayaDU kI baihna EaImatI saunaailanaIdovaI ]sako baad qaIM

AaScaya- AaOr duK kI baat yah hO ik AcCI baat p`aya dIGa-iva#yaat puvaOyaa baihnaoM saIta ica~a evaM lata puvaOyaa baihnaaoM

jaIvaI nahIM rhtI iksaI galatfhmaI ko karNa gau$jaI ka ko saMpk- sao gau$jaI kI saRjanaa%mak p`itBaa ko ilae AnaukUla

puvaOyaa baihnaaoM sao saMbaMQa ivacCod hao gayaa yah samaya qaa sana\ vaatavarNa inaima-t huAa ]nako sauJaava AaOr kqaavastu ko

1936 ka ]sa samaya maOM gau$jaI sao iSaxaa lao rha qaa ijasa AaQaar pr gau$jaI maMca p`stuit ko ilae sauMdr baMidSaoM banaa doto

samaya maOMnao mahsaUsa ikyaa ik puna maola kI kao[- saMBaavanaa nahIM hO jaao prMpra ko Anau$p haotIM saItahrNa jaTayau vaQa

AaOr gau$jaI BaarI Aaiqa-k kiznaa[- maoM hOM tba maOMnao Eawoya gau$ mauid`ka ko saaqa hnaumaana ka laMkavaaiTka maoM Aagamana

maharaja ibaMdadIna ko naama pr ek saMsqaa sqaaipt krnao ka laMkadhna jaOsao ramaayaNa ko p`saMgaaoM ko p`stutIkrNa kI

09

Pt. SHAMBHU MAHARAJ

Mohanrao Kalyanpurkar

Maharaj Bindadeen, uncle of Shambhu Maharaj, and the revered patriarch of the

Lucknow gharana was well-known for his abhinaya, so much so that his name has

become synonymous with abhinaya in Kathak. He was short in stature and not

strikingly handsome. But it is said that the gestures of his eyes and hands during

the performance of his abhinaya created illusions' that were incredible. There is a

legend that when he performed in the Nathdwara temple, the entire congregation

prostrated itself before him. When Maharaj Bindadeen appeared before them in

the posture of Krishna holding the flute, they saw him as a vision of the Lord

Himself. Such was the spell of his abhinaya.

The most spontaneous and handsome tribute to this, great dancer comes from

none other than the distinguished philosopher of art, Ananda Coomaraswamy. In

his Notes on Indian Dramatic Technique, published in 1914, he writes,

"I have never seen, nor do I hope to see," better acting than I saw once in Lucknow,

when an old man . a poet and dancer and a teacher of many, many dancing

girls . sang a Herd-Girl's 'complaint to the mother of Krishna'. This famous dancer

whose name is Bindaeen, is a devout Brahman . Thus, before an audience of

pupils and neighbours, this old man sat on the ground and sang his poem. Picking

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gau$jaI nao SaaMit AnauBava kI ]nhaoMnao ApnaI p%naI ko Baa[- kao ko Gar gae vaha ]pisqat ek tbailae nao lacCU maharaja evaM

p`iSaxaNa donaa AarMBa ikyaa yah baalak SaIGa` hI mad`asa ko laKna} Garanao ko ilae kuC ApSabd kho gau$jaI nao ]sao

klaakaraoM ko ilae AakYa-Na ka koMd` bana gayaa p`itBaavaana\ caotavanaI dI AaOr fTkara ikMtu vah gau$jaI pr hI ibagaD,

baala klaakar kao ek samaaraoh maoM EaImait baala sarsvatI pD,a gau$jaI nao ]sao vastut ]za ilayaa AaOr ApnaI laaOh baahaoM

Wara baala gau$ kI ]paiQa dI ga[- maoM jakD, ilayaa ]sa vyai> kI AaKoM AaOr jaIBa inakla Aa[-

].mauhmmad K,a AaOr ek Anya vyai> icallaae AaOr ]sao kala ko krala haqaaoM nao puna gau$jaI kao ]Woilat kr idyaa CaoD,nao ko ilae kha tba gau$jaI nao ]sao CaoD,a baad maoM ]sanao [sa baalak kao ek pagala kuek hU AaOr saMBavat EaI kMudnalaala evaM maorz ko EaI

hjaarIlaala BaI [sa ipTa[- sao baca sako kqak naR%ya ko xao~ maoM gau$jaI ka Avadana Atulya hO ikMtu

]sao Apoixat maanyata nahIM imalaI maOMnao ]nakI ]plaibQayaaoM ka gau$jaI ApnaI SaarIirk Sai> pr gava- krto qao AaOr yah qaaoqaa vaNa-na ikyaa hO sana\ 1970 maoM gau$jaI fofD,o ko kOMsar sao gava- nahIM qaa ek baar hma baMba[- maoM ek AaOVaoigak p`dSa-naI pIiD,t hue AaOr saba p`kar kI icaik%saa ko baavajaUd 30 ma[- doKnao gae gau$jaI ek pkD,prIxaNa maSaIna ko p`it 1970 kao ]naka dohavasaana hao gayaa [sa p`kar ek mahana\ AakRYT hue ]nhaoMnao fIsa dI AaOr maSaIna kao pUrI gait sao klaakar EaoYz gau$ ip`ya vyai>%va ek inaYzavana\ iSaYya calanao ko ilae [MiDkoTr kao baaQya kr idyaa ]nhaoMnao maSaIna ko ko jaIvana ka Avasaana hao gayaa eosao mahana\ gau$ ]nako iSaYyaaoM p`Baar Isao kha mauJao Apnao daonaaoM haqaaoM ka p`yaaoga krnao AaOr risakaoM ko ilae sada smarNaIya rhoMgao evaM p`cCnna $p maoM dIijae maOM AapkI maSaIna vaak,[- taoD, dUgaa maora ivaSvaasa hO ]naka maaga- p`Sast krto rhoMgao ik vao vaOsaa kr BaI doto ek hI mauiYTp`har maoM naairyala taoD,

donaa ]nako ilae Kola qaa ek baar hma ].mauhmmad K,a saahba

09

Pt. SHAMBHU MAHARAJ

Mohanrao Kalyanpurkar

Maharaj Bindadeen, uncle of Shambhu Maharaj, and the revered patriarch of the

Lucknow gharana was well-known for his abhinaya, so much so that his name has

become synonymous with abhinaya in Kathak. He was short in stature and not

strikingly handsome. But it is said that the gestures of his eyes and hands during

the performance of his abhinaya created illusions' that were incredible. There is a

legend that when he performed in the Nathdwara temple, the entire congregation

prostrated itself before him. When Maharaj Bindadeen appeared before them in

the posture of Krishna holding the flute, they saw him as a vision of the Lord

Himself. Such was the spell of his abhinaya.

The most spontaneous and handsome tribute to this, great dancer comes from

none other than the distinguished philosopher of art, Ananda Coomaraswamy. In

his Notes on Indian Dramatic Technique, published in 1914, he writes,

"I have never seen, nor do I hope to see," better acting than I saw once in Lucknow,

when an old man . a poet and dancer and a teacher of many, many dancing

girls . sang a Herd-Girl's 'complaint to the mother of Krishna'. This famous dancer

whose name is Bindaeen, is a devout Brahman . Thus, before an audience of

pupils and neighbours, this old man sat on the ground and sang his poem. Picking

Bir

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gau$jaI nao SaaMit AnauBava kI ]nhaoMnao ApnaI p%naI ko Baa[- kao ko Gar gae vaha ]pisqat ek tbailae nao lacCU maharaja evaM

p`iSaxaNa donaa AarMBa ikyaa yah baalak SaIGa` hI mad`asa ko laKna} Garanao ko ilae kuC ApSabd kho gau$jaI nao ]sao

klaakaraoM ko ilae AakYa-Na ka koMd` bana gayaa p`itBaavaana\ caotavanaI dI AaOr fTkara ikMtu vah gau$jaI pr hI ibagaD,

baala klaakar kao ek samaaraoh maoM EaImait baala sarsvatI pD,a gau$jaI nao ]sao vastut ]za ilayaa AaOr ApnaI laaOh baahaoM

Wara baala gau$ kI ]paiQa dI ga[- maoM jakD, ilayaa ]sa vyai> kI AaKoM AaOr jaIBa inakla Aa[-

].mauhmmad K,a AaOr ek Anya vyai> icallaae AaOr ]sao kala ko krala haqaaoM nao puna gau$jaI kao ]Woilat kr idyaa CaoD,nao ko ilae kha tba gau$jaI nao ]sao CaoD,a baad maoM ]sanao [sa baalak kao ek pagala kuek hU AaOr saMBavat EaI kMudnalaala evaM maorz ko EaI

hjaarIlaala BaI [sa ipTa[- sao baca sako kqak naR%ya ko xao~ maoM gau$jaI ka Avadana Atulya hO ikMtu

]sao Apoixat maanyata nahIM imalaI maOMnao ]nakI ]plaibQayaaoM ka gau$jaI ApnaI SaarIirk Sai> pr gava- krto qao AaOr yah qaaoqaa vaNa-na ikyaa hO sana\ 1970 maoM gau$jaI fofD,o ko kOMsar sao gava- nahIM qaa ek baar hma baMba[- maoM ek AaOVaoigak p`dSa-naI pIiD,t hue AaOr saba p`kar kI icaik%saa ko baavajaUd 30 ma[- doKnao gae gau$jaI ek pkD,prIxaNa maSaIna ko p`it 1970 kao ]naka dohavasaana hao gayaa [sa p`kar ek mahana\ AakRYT hue ]nhaoMnao fIsa dI AaOr maSaIna kao pUrI gait sao klaakar EaoYz gau$ ip`ya vyai>%va ek inaYzavana\ iSaYya calanao ko ilae [MiDkoTr kao baaQya kr idyaa ]nhaoMnao maSaIna ko ko jaIvana ka Avasaana hao gayaa eosao mahana\ gau$ ]nako iSaYyaaoM p`Baar Isao kha mauJao Apnao daonaaoM haqaaoM ka p`yaaoga krnao AaOr risakaoM ko ilae sada smarNaIya rhoMgao evaM p`cCnna $p maoM dIijae maOM AapkI maSaIna vaak,[- taoD, dUgaa maora ivaSvaasa hO ]naka maaga- p`Sast krto rhoMgao ik vao vaOsaa kr BaI doto ek hI mauiYTp`har maoM naairyala taoD,

donaa ]nako ilae Kola qaa ek baar hma ].mauhmmad K,a saahba

11

When a critic questions him about his apathy towards the terms of the mudras, he said; "When I do the

abhinaya for any thumri or bhajan, my aim is to convey to you the rasa and the bhavas of the

composition. Once I succeed in doing this, I feel I have nothing to do with the names of the mudras. I

term the gestures which are used by me are spontaneous and natural."

To him the execution of abhinaya was more important than the knowledge of the names of the mudras

he had used, because he believed in the total impact of his interpretation on his audience. He

considered this the quintessence of the art of abhinaya. But he was not against the terms and teaching

their proper meaning and use to the new generation of pupils. "You must certainly teach the names of

the mudras to your pupils because it is a good thing to possess such knowledge", he said to me once

and then added humorously, "If now, at this stage, I think of learning the names, I think I will forget my

abhinaya just as the centipede forgot how to crawl in trying to count the number of its feet."

It is well-highly impossible to put on paper the subtle nuances of his nain bhava and to describe in detail

his abhinaya. But we can catch a glimpse of its salient features, using as a concrete example his

favourite thumri koun gali gayo Shyam.

"Tell me, my friend, which path (gali) my Shyam took. I have searched (for him) in Gokul and i have

searched (for him) in Vrindavan (and now) at Mathura it is evening (getting dark)."

This is how he began his abhinaya:

One. Koun-raising the left eye-brow; gali-tracing an imaginary path-way with the eyes from over the

right shoulder to the far corner of the hall; gayo-raising the body and the head a little and looking far

away in that direction; Shyam a slight movement of the neck (sundari greeva).

Two. Koun -raising the right eye-brow, simultaneously tilting the head very slightly; gali-tracing a path

as before but from the left to the right corner of the hall; gayo-raising the body and the head and

craning the neck to look into the distance in a searching movement; Shyam-the same neck movement

with a slight frown to show disappointment.

Three. Koun-raising both the eye-brows with a slight upward jerk of the head; gali-tracing with the eyes

a winding path from the near front to the far end of the hall; gayo raising the body slightly supported

by the right hand and looking far ahead with a searching expression and a slight frown,

Shyamdrooping eye-lids and a slow tilting down of the head to express, utter disappointment.

Words fail to describe the finer shades of the nain bhava. One had glimpses of the subtle nuances of

anxiety, disappointment, impatience, touching pathos, abject helplessness and anger at the sakhi's

reluctance to divulge the secret of his movements.

After the nain bhava which never failed to send the audience into raptures, he proceeded with the kara

bhava, which I will describe by trying to identify the mudras he used. It goes without saying that all the

hand gestures were in harmony with the emotions expressed on the face.

One. Koun-alapadma with the right hand; gali-soochi hasta with the same right hand pointing to the

imagined gali; gayo Shyam - a searching look and placing both hands in the ardhachandra mudra close

to each other over the head to denote the crown (mukut).

Two. Koun- both the hands in pataka, stretched out slightly in the direction of the sakhi; gali-describing

a winding path in front with both hands in the pataka mudra, and the hands facing each other; gayo

Shyam-looking straight ahead with one hand in arala above the head, facing outwards and the other

near the lips to suggest the flute.

Three. A further elaboration of the theme was suggested thus: The sakhi was questioned. The hands

pointed in various directions to say:

"Is this the gali?" "No!!"

"Then it may be this one?" "No!!"

"Sure enough it must be this?" "No!!"

To show the exasperation of the questioner he lightly tapped the back of his right hand on the palm of

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up a scarf, he used it as a veil and no one could have remembered that he was anything but a shy and

graceful young girl, telling a story with every sort of dramatic gesture of the hand and eyes. She told

how Krishna had stolen the butter and the curds, what pranks he played, of his love-making and every

sort of naughtiness. Every feature of the face, every movement of the body and hands was intentional,

controlled, hieratic; not all his own devotion to Krishna spoiled his art to the least degree."

One had only to watch the performance of Shambhu Maharaj, the nephew of the great maestro

Maharaj Bindadeen to experience the truth of what Ananda Coomaraswamy wrote, what he sought to

communicate when he described the exquisite abhinaya of Maharaj Bindadeen. The older generation

of Lucknow, who were closely associated with Maharaj Bindadeen and had seen him perform on a

number of occasions, maintained that Shambhu Maharaj had inherited the great mimetic powers of

his uncle. They also said that he could lend to his abhinaya, the same aesthetic grandeur and artistic

excellence that his uncle did.

Maharaj Bindadeen died when Shambhu Maharaj was a mere child of eight and so he could not impart

his art directly to his nephew. Shambhu Maharaj was, therefore, entirely trained by his illustrious elder

brother Achchan Maharaj, whom he held in the highest esteem. Later Shambhu Maharaj was able to

carve a distinctive style of his own which was more in

tune with his own dynamic personality. His style bore

the stamp of his own genius. He excelled in abhinaya

and even his guru paid a tribute to him for his

achievement in this sphere.

Shambhu Maharaj was tall and handsome. He had a

sinewy figure and chiselled features. A broad

forehead, well-marked eyebrows, large and eloquent

eyes and sensuous lips were ideal assets and he used

them to advantage in his abhinaya. It was his practice

to begin his abhinaya performance with a recital of

the text of the composition; then he went on to do the

abhinaya. He had a well-trained voice, rich and

melodious. He modulated it to suit the purpose of the

words and with such a charming effect that he could

immediately establish a rapport with his audience

and communicate to his listeners the basic mood of

the song. The abhinaya prooer began with the varied

and suggestive use of his eloquent eyes and mobile

face. This he called nain bhava. The term is perhaps

not a strictly academic one but the effect it created on the audience was really amazing. The illustration

of the nine rasas with just the use of the eyes is not new to abhinaya. I have witnessed artists in other

styles perform it with rare skill. A slight digression will illustrate the power that lies latent in the eyes.

There is that beautiful shloka of Adi Shankaracharya in Soundarya-Lahari, describing the Rasa Drishti.

"Oh Mother! Thy gaze is soft with love towards Shiva; full of disgust towards other people; furious

towards Ganga; expressive of wonder at Girisha's life career; full of dread (when

confronted) with the snakes (ornaments) of Hara; victorious over the beautiful colour of the lotus;

smiles on thy sakhis; and is full of compassion towards me."

The nine rasas, Shringara, Bibhatsa, Raudra, Adbhuta, Bhayanaka, Veera, Hasya, and Karuna are

described as they express themselves in the Mother's gaze.

Shambhu Maharaj's nain bhava was followed by a further elaboration of the bhavas, with the use of

hand gestures which he called kara bhava. Though he employed a large number of those prescribed in

the ancient texts, he did not make a fetish of terminology. But one had no doubt that he used all the

Head Gestures, Eye Gestures, Eyebrow Gestures, Neck Gestures, almost all the One-hand Gestures and

a large number of the Combined-hand Gestures of the texts.

His beautiful eyes

remained open even in death.

Perhaps even Death was

so fascinated by

their appeal that

it did not have

the heart to close them.

11

When a critic questions him about his apathy towards the terms of the mudras, he said; "When I do the

abhinaya for any thumri or bhajan, my aim is to convey to you the rasa and the bhavas of the

composition. Once I succeed in doing this, I feel I have nothing to do with the names of the mudras. I

term the gestures which are used by me are spontaneous and natural."

To him the execution of abhinaya was more important than the knowledge of the names of the mudras

he had used, because he believed in the total impact of his interpretation on his audience. He

considered this the quintessence of the art of abhinaya. But he was not against the terms and teaching

their proper meaning and use to the new generation of pupils. "You must certainly teach the names of

the mudras to your pupils because it is a good thing to possess such knowledge", he said to me once

and then added humorously, "If now, at this stage, I think of learning the names, I think I will forget my

abhinaya just as the centipede forgot how to crawl in trying to count the number of its feet."

It is well-highly impossible to put on paper the subtle nuances of his nain bhava and to describe in detail

his abhinaya. But we can catch a glimpse of its salient features, using as a concrete example his

favourite thumri koun gali gayo Shyam.

"Tell me, my friend, which path (gali) my Shyam took. I have searched (for him) in Gokul and i have

searched (for him) in Vrindavan (and now) at Mathura it is evening (getting dark)."

This is how he began his abhinaya:

One. Koun-raising the left eye-brow; gali-tracing an imaginary path-way with the eyes from over the

right shoulder to the far corner of the hall; gayo-raising the body and the head a little and looking far

away in that direction; Shyam a slight movement of the neck (sundari greeva).

Two. Koun -raising the right eye-brow, simultaneously tilting the head very slightly; gali-tracing a path

as before but from the left to the right corner of the hall; gayo-raising the body and the head and

craning the neck to look into the distance in a searching movement; Shyam-the same neck movement

with a slight frown to show disappointment.

Three. Koun-raising both the eye-brows with a slight upward jerk of the head; gali-tracing with the eyes

a winding path from the near front to the far end of the hall; gayo raising the body slightly supported

by the right hand and looking far ahead with a searching expression and a slight frown,

Shyamdrooping eye-lids and a slow tilting down of the head to express, utter disappointment.

Words fail to describe the finer shades of the nain bhava. One had glimpses of the subtle nuances of

anxiety, disappointment, impatience, touching pathos, abject helplessness and anger at the sakhi's

reluctance to divulge the secret of his movements.

After the nain bhava which never failed to send the audience into raptures, he proceeded with the kara

bhava, which I will describe by trying to identify the mudras he used. It goes without saying that all the

hand gestures were in harmony with the emotions expressed on the face.

One. Koun-alapadma with the right hand; gali-soochi hasta with the same right hand pointing to the

imagined gali; gayo Shyam - a searching look and placing both hands in the ardhachandra mudra close

to each other over the head to denote the crown (mukut).

Two. Koun- both the hands in pataka, stretched out slightly in the direction of the sakhi; gali-describing

a winding path in front with both hands in the pataka mudra, and the hands facing each other; gayo

Shyam-looking straight ahead with one hand in arala above the head, facing outwards and the other

near the lips to suggest the flute.

Three. A further elaboration of the theme was suggested thus: The sakhi was questioned. The hands

pointed in various directions to say:

"Is this the gali?" "No!!"

"Then it may be this one?" "No!!"

"Sure enough it must be this?" "No!!"

To show the exasperation of the questioner he lightly tapped the back of his right hand on the palm of

Bir

th ce

nte

nary c

ele

bra

tio

n b

y N

ad

roo

p

up a scarf, he used it as a veil and no one could have remembered that he was anything but a shy and

graceful young girl, telling a story with every sort of dramatic gesture of the hand and eyes. She told

how Krishna had stolen the butter and the curds, what pranks he played, of his love-making and every

sort of naughtiness. Every feature of the face, every movement of the body and hands was intentional,

controlled, hieratic; not all his own devotion to Krishna spoiled his art to the least degree."

One had only to watch the performance of Shambhu Maharaj, the nephew of the great maestro

Maharaj Bindadeen to experience the truth of what Ananda Coomaraswamy wrote, what he sought to

communicate when he described the exquisite abhinaya of Maharaj Bindadeen. The older generation

of Lucknow, who were closely associated with Maharaj Bindadeen and had seen him perform on a

number of occasions, maintained that Shambhu Maharaj had inherited the great mimetic powers of

his uncle. They also said that he could lend to his abhinaya, the same aesthetic grandeur and artistic

excellence that his uncle did.

Maharaj Bindadeen died when Shambhu Maharaj was a mere child of eight and so he could not impart

his art directly to his nephew. Shambhu Maharaj was, therefore, entirely trained by his illustrious elder

brother Achchan Maharaj, whom he held in the highest esteem. Later Shambhu Maharaj was able to

carve a distinctive style of his own which was more in

tune with his own dynamic personality. His style bore

the stamp of his own genius. He excelled in abhinaya

and even his guru paid a tribute to him for his

achievement in this sphere.

Shambhu Maharaj was tall and handsome. He had a

sinewy figure and chiselled features. A broad

forehead, well-marked eyebrows, large and eloquent

eyes and sensuous lips were ideal assets and he used

them to advantage in his abhinaya. It was his practice

to begin his abhinaya performance with a recital of

the text of the composition; then he went on to do the

abhinaya. He had a well-trained voice, rich and

melodious. He modulated it to suit the purpose of the

words and with such a charming effect that he could

immediately establish a rapport with his audience

and communicate to his listeners the basic mood of

the song. The abhinaya prooer began with the varied

and suggestive use of his eloquent eyes and mobile

face. This he called nain bhava. The term is perhaps

not a strictly academic one but the effect it created on the audience was really amazing. The illustration

of the nine rasas with just the use of the eyes is not new to abhinaya. I have witnessed artists in other

styles perform it with rare skill. A slight digression will illustrate the power that lies latent in the eyes.

There is that beautiful shloka of Adi Shankaracharya in Soundarya-Lahari, describing the Rasa Drishti.

"Oh Mother! Thy gaze is soft with love towards Shiva; full of disgust towards other people; furious

towards Ganga; expressive of wonder at Girisha's life career; full of dread (when

confronted) with the snakes (ornaments) of Hara; victorious over the beautiful colour of the lotus;

smiles on thy sakhis; and is full of compassion towards me."

The nine rasas, Shringara, Bibhatsa, Raudra, Adbhuta, Bhayanaka, Veera, Hasya, and Karuna are

described as they express themselves in the Mother's gaze.

Shambhu Maharaj's nain bhava was followed by a further elaboration of the bhavas, with the use of

hand gestures which he called kara bhava. Though he employed a large number of those prescribed in

the ancient texts, he did not make a fetish of terminology. But one had no doubt that he used all the

Head Gestures, Eye Gestures, Eyebrow Gestures, Neck Gestures, almost all the One-hand Gestures and

a large number of the Combined-hand Gestures of the texts.

His beautiful eyes

remained open even in death.

Perhaps even Death was

so fascinated by

their appeal that

it did not have

the heart to close them.

13

following with her eyes the patterns of the galis made by the smoke and asking the same question

koun gali gayo Shyam. Shambhu Maharaj executed this particular bhava with such rare skill that

it invariably brought tears to the eyes of the audience and even Shambhu Maharaj himself seemed

visibly moved.

He did not dwell at length on the last two lines of the song. Gokul was shown by the milking of the cows

and the churning of the curds while dhoondi was shown by gestures suggesting a frantic search.

Vrindavana was depicted by maidens walking down the ghats of the Jamuna for water. Mathura was

identified with the ruling Kamsa by a gesture suggesting his moustaches and an arrogant look. Ho gayi

sham - the rising of the sun, tracing its path through the sky with the eyes or the hand and ending with

the sunset shown by closing of the eyes, lighting an oil lamp and setting out to search for the foot-prints

of Shyam.

Thus ended the magnificent performance. One marvelled at the depth of his conception and the

picturesque elegance with which he demonstrated through bhavas. The lingering warmth seemed to

cling to you for days on end.

Another favourite of his was Madho kahi na jat dukh Brijake which described the plight of the helpless

gopis of Braj when Lord Krishna left them and stayed at Mathura. Uddhava was sent by Krishna to Braj

to pacify the gopis and teach them the philosophy of Brahman. Uddhava returned to Mathura,

converted to the philosophy of love. In this song he narrates the pangs of separation experienced by

the gopis and other beings in Braj. I still recall that evening in Lucknow when Shambhu Maharaj sang

those lines. On this particular occasion his abhinaya reached such heights that not a single individual in

the audience could hold back his tears. The great maestro himself was so visibly moved that he had to

bring the performance to an abrupt stop.

In his younger days he preferred to render these songs: Kisne chilman se mara nazara mujhe; Tan-e-

mareez me dam ka shumar baki hai; Chale aiho Kanha Jamuna kinare mero gaon; Nikas chalbe tum ko

laike sanwariya and present their meaning through his abhinaya. These songs used to be considered as

commonplace verses by many performers. But the genius of Shambhu Maharaj and his artistic

brilliance lent them a refined meaning and a new dignity. Once a connoisseur chided him for choosing

such songs. Shambhu Maharaj was hurt by such criticism. He considered it a challenge and with the

superb abhinaya accompanying Chale aiho Kanha Jamuna kinare mero gaon he won the acclaim of the

accuser.

Shambhu Maharaj was a master of abhinaya. But he was also as adept in the nritta aspect of the Kathak

style of dance. His execution of the various bols such as the amad, paran and paramelu bore the stamp

of his distinctive style and individuality. He had improvised hastakas for the traditional bols and they

were both picturesque and graceful. He always tried to avoid speed in performance and laid greater

stress on precision in the co-ordinated movements of the body, arms, hands, head and eyes,

accompanied, of course, with the correct timing of the foot-work. All his compositions had a lyrical

form and extraordinary grace. Every movement had the right accent which highlighted the particular

syllable of the bol and the combination of all movements helped to emphasise the beauty of the

complete bol.

He visualised the bol as a personality and then conceived appropriate hastakas to suit its character.

Thus, for the parans which are composed of heavy and forceful pakhawaj syllables, he always

employed vigorous movements and for some of the soft sounding natawari bols he used exceedingly

light and fragile movements which matched their temper.

When he introduced these innovations, he always sought the sanction of his eldest brother, Guru

Achchan Maharaj who, in turn, invariably showed his approval by a word of praise and appreciation.

Here are some of the bols which he himself danced, adding to them a personal touch. He also taught

them to his pupils.

Bir

th ce

nte

nary c

ele

bra

tio

n b

y N

ad

roo

p

his left or on the right thigh as if to say,

"Oh! How can I ever find Him if you keep on deceiving me thus?"

All these gestures he used to combine with the line bata do gunya, cajoling the friend, beseeching her

with folded hands, touching her feet humbly and then showing her own annoyance because the friend

has turned a deaf ear to all her entreaties.

The next step was to emphasise the various ways of searching for Him.

(I) Parting the low branches of a tree to get a better view (pataka hands both turned outwards).

(ii) Removing an object which obstructed the view - a vertical pataka turned outwards and moved

away from the line of vision by the other hand with sarpashirsha mudra.

(iii) Looking over a hedge or a small parapet - placing both pataka hastas one hand exactly over the

other with the tips of the middle finger of one hand touching the wrist of the other hand and kept

parallel to the ground just below the line of vision. Slowly raising the head as if looking over it.

(iv) Holding the branches of a tree on the right with both hands - the right hand in the mushtimudra

turned outwards, and raised above the head and the left also in a similar mudra held a little

below,near about the right shoulder, searching intently from the left to the right. Then followed a

detailed description of Shyam.

(a) Shyam with his long curly hair - both hands in the soochi hasta, slowly moving down the temples to

the shoulders, the stretched finger making revolving movements.

(b) Who wears the mukut - with the ardhachandra hands as described earlier.

(c) Dark as the cloud - both pataka hands, palms down held high above the head, describing the

movement of the cloud.

(d) Who wears the Vaijayanti Mala - showing the spot where the garland is and with the right hand in

mrigashirsha mudra.

(e) Who wears armlets - placing the armlets in their proper places and tightening them. The string is

held in the teeth and the bead provided is moved towards the arm with the hamsasya hasta.

(f) Who wears wristlets - the wristlets are fastened by tightening the clasps provided with the

hamsasya hasta.

(g) Who wears the peetambara - describe the tying of the peetambara.

(h) And finally, Shyam, who plays on the flute - both hands near the lips (to the right) in arala mudra.

Then Shambhu Maharaj went on to describe sanchari bhavas. This was his forte. He had such a deep

perception and such imaginative gifts that their depiction was really exquisite.

(i) "Has his beautiful form reached another heart through (the gali of) the eyes? " Both the hands with

hamsasya mudra pointing downwards, moving down from the front of the eyes towards the heart.

(ii) "Has he captivated somebody's heart like sweet perfume?"

Applying the perfume on the back of the hand and inhaling it.

(iii) "Has he entered another heart as the melody of his flute through the ears?"

(iv) "Has he become as attached to another gali as the sindur is to the parting of the hair?"

(v) "Has he become attached to a gali like the kajal or surma to the eye?"

Sanchari bhavas were then enacted by comparing the wearing of the various ornaments of the ear,

nose, bangles on the wrists and the finger-rings on the fingers to the entering and adorning a

gali by Shyam. Shambhu Maharaj continued to unfold the bhavas, making each one more appealing

than the previous one. The crowning bhava was expressed thus: the death of a person, the laying of

the body on the funeral pyre, the breaking of the bangles, the removing of all ornaments and washing

off the sindur by his wife to suggest widowhood, the lighting of the pyre, the sorrowing women

13

following with her eyes the patterns of the galis made by the smoke and asking the same question

koun gali gayo Shyam. Shambhu Maharaj executed this particular bhava with such rare skill that

it invariably brought tears to the eyes of the audience and even Shambhu Maharaj himself seemed

visibly moved.

He did not dwell at length on the last two lines of the song. Gokul was shown by the milking of the cows

and the churning of the curds while dhoondi was shown by gestures suggesting a frantic search.

Vrindavana was depicted by maidens walking down the ghats of the Jamuna for water. Mathura was

identified with the ruling Kamsa by a gesture suggesting his moustaches and an arrogant look. Ho gayi

sham - the rising of the sun, tracing its path through the sky with the eyes or the hand and ending with

the sunset shown by closing of the eyes, lighting an oil lamp and setting out to search for the foot-prints

of Shyam.

Thus ended the magnificent performance. One marvelled at the depth of his conception and the

picturesque elegance with which he demonstrated through bhavas. The lingering warmth seemed to

cling to you for days on end.

Another favourite of his was Madho kahi na jat dukh Brijake which described the plight of the helpless

gopis of Braj when Lord Krishna left them and stayed at Mathura. Uddhava was sent by Krishna to Braj

to pacify the gopis and teach them the philosophy of Brahman. Uddhava returned to Mathura,

converted to the philosophy of love. In this song he narrates the pangs of separation experienced by

the gopis and other beings in Braj. I still recall that evening in Lucknow when Shambhu Maharaj sang

those lines. On this particular occasion his abhinaya reached such heights that not a single individual in

the audience could hold back his tears. The great maestro himself was so visibly moved that he had to

bring the performance to an abrupt stop.

In his younger days he preferred to render these songs: Kisne chilman se mara nazara mujhe; Tan-e-

mareez me dam ka shumar baki hai; Chale aiho Kanha Jamuna kinare mero gaon; Nikas chalbe tum ko

laike sanwariya and present their meaning through his abhinaya. These songs used to be considered as

commonplace verses by many performers. But the genius of Shambhu Maharaj and his artistic

brilliance lent them a refined meaning and a new dignity. Once a connoisseur chided him for choosing

such songs. Shambhu Maharaj was hurt by such criticism. He considered it a challenge and with the

superb abhinaya accompanying Chale aiho Kanha Jamuna kinare mero gaon he won the acclaim of the

accuser.

Shambhu Maharaj was a master of abhinaya. But he was also as adept in the nritta aspect of the Kathak

style of dance. His execution of the various bols such as the amad, paran and paramelu bore the stamp

of his distinctive style and individuality. He had improvised hastakas for the traditional bols and they

were both picturesque and graceful. He always tried to avoid speed in performance and laid greater

stress on precision in the co-ordinated movements of the body, arms, hands, head and eyes,

accompanied, of course, with the correct timing of the foot-work. All his compositions had a lyrical

form and extraordinary grace. Every movement had the right accent which highlighted the particular

syllable of the bol and the combination of all movements helped to emphasise the beauty of the

complete bol.

He visualised the bol as a personality and then conceived appropriate hastakas to suit its character.

Thus, for the parans which are composed of heavy and forceful pakhawaj syllables, he always

employed vigorous movements and for some of the soft sounding natawari bols he used exceedingly

light and fragile movements which matched their temper.

When he introduced these innovations, he always sought the sanction of his eldest brother, Guru

Achchan Maharaj who, in turn, invariably showed his approval by a word of praise and appreciation.

Here are some of the bols which he himself danced, adding to them a personal touch. He also taught

them to his pupils.

Bir

th ce

nte

nary c

ele

bra

tio

n b

y N

ad

roo

p

his left or on the right thigh as if to say,

"Oh! How can I ever find Him if you keep on deceiving me thus?"

All these gestures he used to combine with the line bata do gunya, cajoling the friend, beseeching her

with folded hands, touching her feet humbly and then showing her own annoyance because the friend

has turned a deaf ear to all her entreaties.

The next step was to emphasise the various ways of searching for Him.

(I) Parting the low branches of a tree to get a better view (pataka hands both turned outwards).

(ii) Removing an object which obstructed the view - a vertical pataka turned outwards and moved

away from the line of vision by the other hand with sarpashirsha mudra.

(iii) Looking over a hedge or a small parapet - placing both pataka hastas one hand exactly over the

other with the tips of the middle finger of one hand touching the wrist of the other hand and kept

parallel to the ground just below the line of vision. Slowly raising the head as if looking over it.

(iv) Holding the branches of a tree on the right with both hands - the right hand in the mushtimudra

turned outwards, and raised above the head and the left also in a similar mudra held a little

below,near about the right shoulder, searching intently from the left to the right. Then followed a

detailed description of Shyam.

(a) Shyam with his long curly hair - both hands in the soochi hasta, slowly moving down the temples to

the shoulders, the stretched finger making revolving movements.

(b) Who wears the mukut - with the ardhachandra hands as described earlier.

(c) Dark as the cloud - both pataka hands, palms down held high above the head, describing the

movement of the cloud.

(d) Who wears the Vaijayanti Mala - showing the spot where the garland is and with the right hand in

mrigashirsha mudra.

(e) Who wears armlets - placing the armlets in their proper places and tightening them. The string is

held in the teeth and the bead provided is moved towards the arm with the hamsasya hasta.

(f) Who wears wristlets - the wristlets are fastened by tightening the clasps provided with the

hamsasya hasta.

(g) Who wears the peetambara - describe the tying of the peetambara.

(h) And finally, Shyam, who plays on the flute - both hands near the lips (to the right) in arala mudra.

Then Shambhu Maharaj went on to describe sanchari bhavas. This was his forte. He had such a deep

perception and such imaginative gifts that their depiction was really exquisite.

(i) "Has his beautiful form reached another heart through (the gali of) the eyes? " Both the hands with

hamsasya mudra pointing downwards, moving down from the front of the eyes towards the heart.

(ii) "Has he captivated somebody's heart like sweet perfume?"

Applying the perfume on the back of the hand and inhaling it.

(iii) "Has he entered another heart as the melody of his flute through the ears?"

(iv) "Has he become as attached to another gali as the sindur is to the parting of the hair?"

(v) "Has he become attached to a gali like the kajal or surma to the eye?"

Sanchari bhavas were then enacted by comparing the wearing of the various ornaments of the ear,

nose, bangles on the wrists and the finger-rings on the fingers to the entering and adorning a

gali by Shyam. Shambhu Maharaj continued to unfold the bhavas, making each one more appealing

than the previous one. The crowning bhava was expressed thus: the death of a person, the laying of

the body on the funeral pyre, the breaking of the bangles, the removing of all ornaments and washing

off the sindur by his wife to suggest widowhood, the lighting of the pyre, the sorrowing women

15

Our artists have

identified beauty with

the infinite glory of God; and

so the expressions of

beauty have been

religious in nature.

To dance is ecstasy symbolised a

dedication to the Supreme, and

thus dance became an

essential part of the puja.

DANCE SEMINAR 1958

Sangeet Natak Akademi

AN ANALYTICAL STUDY

Mohanrao Kalyanpurkar

KATHAK

Kathak is the classical dance form of Northern

India. Though it is prevalent all over this region,

its two main centres are considered to be

Lucknow in Uttar Pradesh and Jaipur in

Rajasthan. Its origins are said to be as old as the

Aryan civilisation of the north, but it is difficult

to say precisely when and how it took its

present form.

In ancient India dance was considered not only

the visual expression of intoxicated energy or

an entertainment for those who wished to be

amused, but an image of the activity of God.

Our artists have identified beauty with the

infinite glory of God; and so the expressions of

beauty have been religious in nature. To dance

is ecstasy symbolised a dedication to the

Supreme, and thus dance became an essential

part of the puja. In Shiva Manas puja, we come

across a shloka:

N> Mm_a`mo`wJ `OZH$ MmXeH$ [Z_b_ &

drUm _o[a _XJ H$m hb H$bm JrV M Z` VWm &

gm>mJ U{V: Vw{Z~h {dmh`oV g_V _`m &

gH$noZ g_{nV_ Vd {d ^ mo nyOm JhmU ^mo &

(2)

Temples became elaborate structures with a

Bir

th ce

nte

nary c

ele

bra

tio

n b

y N

ad

roo

p

Amad:

Amad is a Persian word which means advent or coming. This piece consists of a set pattern of natawari

syllables preceded by a traditionally accepted pakhawaj paran. The following amad was a special

favourite of Shambhu Maharaj. He provided extremely graceful movements with enough scope to

cover a large area of the stage.

Here is another amad in which he deviated a little from the convention that every syllable of the bol

must be produced by the feet. He gave this conventional amad lines as well as postures which were

very refreshing.

Paramelu:

Paramelu is a piece in which syllables, seemingly of various percussion instruments, are combined with

the natawari bols. Some of conventional syllables used are - jaga jaga, thudanga, dhetam, thoonga-

noonga, dhilanga, jhan-jhan, etc.

Natawari:

Natawara is an epithet used to describe Lord Krishna. The word means "the best among the dancers". It

stems from a legend: when Krishna subdued the monster-serpent Kaliya and danced on his hoods, the

syllables ta, theyi, and tat were produced. Hence all the bols composed of these syllables and their

derivatives, digdig, tigdha, tram, are classed as natawari

Paran:

Pieces composed exclusively of the pakhawaj syllables are termed, parans. This paran was a great

favourite of Shambhu Maharaj.

I was associated with him for thirty years, starting from 1 939. I had the good fortune of witnessing

many of his innumerable performances. I revered him as my guru and he had a great affection for me as

his pupil.

As a person, he was very impulsive and believed in intense and moment-to-moment living. There was a

commanding, an almost arrogant note in his form of speech. This was in contrast to the other side of his

nature which was gentle and loving. His mother and his eldest brother were often hurt by his

overbearing manner and prodigal ways.

I will always remember the last performance at Lucknow in 1969 when he performed in my house. He

was ailing and looked very weak and tired. But he agreed to dance because his friends pressed him to

do so. He started with the song Jamuna kinare aj Shyam ne sakhiyon ki chunariyan chheen layin. We

heard it for the first time then. His voice sounded feeble and his gestures lacked their usual force but

the interpretation carried the same spontaneity and dignity. His sanchari bhavas were full of the same

charm. We did not dream then that this would be his last performance.

Abhinaya had become almost second nature with him. Even on his death-bed. Just a few minutes

before he breathed his last, he was heard instructing his nephew Birju Maharaj how to render the

Bahut door ho pas ao tojanu, (You are too far away; come closer to me and I will recognise you). The line

can be interpreted in a myriad ways but it seemed as though he was addressing Death itself. Within a

few seconds he slumped on the pillow across his lap. His beautiful eyes remained open. Perhaps even

Death was so fascinated by their appeal that it did not have the heart to close them.

15

Our artists have

identified beauty with

the infinite glory of God; and

so the expressions of

beauty have been

religious in nature.

To dance is ecstasy symbolised a

dedication to the Supreme, and

thus dance became an

essential part of the puja.

DANCE SEMINAR 1958

Sangeet Natak Akademi

AN ANALYTICAL STUDY

Mohanrao Kalyanpurkar

KATHAK

Kathak is the classical dance form of Northern

India. Though it is prevalent all over this region,

its two main centres are considered to be

Lucknow in Uttar Pradesh and Jaipur in

Rajasthan. Its origins are said to be as old as the

Aryan civilisation of the north, but it is difficult

to say precisely when and how it took its

present form.

In ancient India dance was considered not only

the visual expression of intoxicated energy or

an entertainment for those who wished to be

amused, but an image of the activity of God.

Our artists have identified beauty with the

infinite glory of God; and so the expressions of

beauty have been religious in nature. To dance

is ecstasy symbolised a dedication to the

Supreme, and thus dance became an essential

part of the puja. In Shiva Manas puja, we come

across a shloka:

N> Mm_a`mo`wJ `OZH$ MmXeH$ [Z_b_ &

drUm _o[a _XJ H$m hb H$bm JrV M Z` VWm &

gm>mJ U{V: Vw{Z~h {dmh`oV g_V _`m &

gH$noZ g_{nV_ Vd {d ^ mo nyOm JhmU ^mo &

(2)

Temples became elaborate structures with a

Bir

th ce

nte

nary c

ele

bra

tio

n b

y N

ad

roo

p

Amad:

Amad is a Persian word which means advent or coming. This piece consists of a set pattern of natawari

syllables preceded by a traditionally accepted pakhawaj paran. The following amad was a special

favourite of Shambhu Maharaj. He provided extremely graceful movem