Technique, tradition and storytelling on stage

The Mandala Theatre recently hosted 'Umanga: The Joy Continues,' a Kathak performance by Aesthetic Dance Studio that meticulously unveiled the classical dance form's traditions and the rigorous journey of its students. The performance commenced not with elaborate choreography, but with a quiet 'bandana,' an invocation seeking blessings. This deliberate opening underscored the deep-rooted Hindu traditions of Kathak and set a tone of reverence for the art form.

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A Kathak performance does not begin in haste. It asks for stillness.

The evening primarily featured students from Level Two and Level Three, offering the audience a transparent view into the demanding process of Kathak training. The 'Shiva Bandana,' performed by Level Three students and choreographed by Manisha Basnet, served as a devotional opening, embodying the inseparable link between performance, prayer, and discipline in classical Indian traditions.

Following the invocation, Level Two students presented a 'Nritta' performance, choreographed by Dipak Khatiwada. 'Nritta,' characterized by pure dance focused on rhythm and technique, marked a significant milestone for these students as it represented their graduation into a more formal stage identity. While not deeply emotional, this segment effectively showcased the foundational elements of Kathak: rhythm, posture, footwork, and control.

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For Aesthetic Dance Studio, this opening established the performance tradition’s Hindu roots and sought blessings before the dancers proceeded with the rest of the evening.

As the evening progressed, Level Three students, under Manisha Basnet's choreography, demonstrated greater ease and maturity in their technical performances. Their comfort with Kathak's grammar, timing, and stage presence was evident. The production's lighting design played a crucial role, transforming the stage into an atmospheric space that enhanced the emotional texture of each piece, lending a sacred quality to the devotional and mythological narratives.

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Rather than a single polished production by professional dancers, it placed students at different stages of their training on stage, allowing the audience to witness the demanding process of building Kathak.

The latter part of the performance shifted towards thematic explorations with pieces like 'Dhan Ropai' and 'Samudra Manthan.' These segments, performed by both Level Two and Level Three students, introduced narrative and cultural weight, offering variety and showcasing the storytelling aspect of Kathak. The 'Dhan Ropai' piece, in particular, connected the dance to everyday life and agricultural practices, enriching the audience's understanding of the cultural context embedded within the performance.

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As an invocation, it carried devotional energy and control, reminding the audience that in classical traditions, performance is often inseparable from prayer and discipline.