Comparison of expression of devotional poems in Naradiya kirtan presentation with that of Kathak temple tradition

Abstract

This study is about the comparison between the expression of Shloka, Pada, Bhajan, Stuti, Akhyan under the Maharashtra Naradiya Kirtan tradition and Kathak Mandir tradition. Music is an integral part of both the styles. Study of history of these two styles shows significant changes in their repertoire with changes in time. A study of the changes in the presentation of both styles gives an insight into the changes in use of music and social conditions of the time. Till date, no research work is done on the subject comparing the performance method of these two styles for katha akhyan and devotional poetry. The purpose of this research is to do a comparative study between the Naradiya Kirtan and presentation of katha akhyan in the temple tradition of Kathak, to examine the applicability of devotional poetic literature of saints used in both styles, and to clarify the place of sattvic abhinaya in both styles.
In this research paper, interviews with kirtan artist Charudatta Aphle, Sameer Limaye and also parts of ‘Nachu Kirtanache Rangi’ book written by Dr. Yashwant Pathak has been compiled and analysed. Devotional poetry received from Kirtankar Vishwas Kulkarni, literature and experiments received while participating in the workshop have been reviewed for this research. The use of sattvic abhinaya in the performance method of Kathak temple tradition found in the books by Vidyavachaspati Shankar Abhyankar, Dr. Puru Dadhich, Dr. Shovana Narayan and its extensive discussion explains the similarities in both the styles. The complete resemblance between kirtan by Kirtankar Muralidharbua Nijampurkar and the description of katha akhyan (story telling) in the temple tradition of Kathak by Omkarnath Thakur establishes a commonality in the expression of the two styles. Charudatta Aphle and Nizampurkar’s demonstration of Kathak hand gestures on the hymns composed by Saint Tulsidas, kirtankar Milindbua Badve’s presentation of Sattvic Abhinaya, Pandit Madan Maharaj’s film footage of Draupadi disrobing incident performed in the Krishna mandir shows similarities. A joint study of Maharashtrian Kirtan and Kathak temple tradition is necessary to show the possibility of creation of the self-classical dance style of Maharashtra. This study will give more nuanced insight into Indian history. For this purpose, the topic of this research paper can play an important role in clarifying the literary and performance-based interrelationship of the two styles.