My Kathak Journey - Parna
Early years:
From a very early age, probably 6-7, I knew I wanted to be a dancer. My parents took me to the National Institute of Kathak Dance, Kathak Kendra to channel that aspiration. At Kathak Kendra, I started learning under Smt. Reba Vidyarthi, a Sangeet Natak Akademi Award winner and a disciple of the legendary Pt. Shambhu Maharaj of the Kalka-Bindadin Gharana of Lucknow style of Kathak.
Reba di inspired my lifelong learning desire. I have fond memories of her kind, patient, and dedicated teaching style AND the ice creams she would treat me with on her birthday or if I pleased her with my dance. I think of her every time I take the stage, every time I practice, and every time I get up to teach dance.
Advanced learning years:
Pt. Birju Maharaj accepted me to his class of senior students at the young age of 13. Learning directly for over a decade from the leading light of Lucknow Gharana will always be the privilege of my life. Those were the most precious days, 3-4 hours of lessons with Maharaj ji. Soaking in the environment of music and dance all around me. My immersion in the world of Kathak was complete and immensely enthralling.
Life of an artist, learning, teaching, and performing
During college and for the years that followed, I immersed myself in the life of an artist. I would attend college, rush to Kalashram (Maharaj ji’s institution), teach a class for junior students, and spend the entire evening, sometimes past midnight, learning and practicing with Maharaj ji and the small group of dancers and musicians who were part of his select ensemble.
During these years, we traveled all over the country to perform. At least once a year we would tour the United Kingdom and the United States of America. We performed in places as far as China, Malaysia, Bangladesh, and Myanmar, at world-famous venues such as Queen Elizabeth Hall (London), Lincoln Center of Performing arts (New York), Palace of Fine Arts (San Francisco), and Louis E. Plummer Auditorium, Los Angeles, and at historical places such as the Taj Mahal, the Khajuraho temples, and the Purana Qila, Delhi.
Life of an artist,
learning, teaching, and performing
During college and for the years after were my fullest days as an artist. I would go to college, go to Kalashram (Maharaj-ji’s institution) right after, teach a class for junior students, spend the evenings sometime all the way till 11pm learning and practicing with Maharaj-ji and the small group of dancers and musicians who were part of his ensemble. During these years, we traveled all over the country to perform.
At least once a year on a tour to the UK, and the US. Performing, taking workshops, soaking in the life of a touring artist. We performed in places as far flung as China and Myanmar, at famous venues such as Queen Elizabeth Hall (London), Lincoln Center of Performing arts (New York), Palace of Fine Arts (San Francisco), and at historical places such as the Taj Mahal, the Khajuraho temples, and the Purana Qila.
Bringing Lucknow
Gharana to SF Bay Area
After moving to the San Francisco Bay Area in 2003, I faced the exciting prospect of establishing my identity as an artist and a teacher of the Lucknow Gharana. It was an incredibly rewarding time to integrate into the rich arts environment in the SF Bay Area. I performed as a featured soloist in the 2006 and 2007 editions of the Ethnic Dance Festival at the Palace of Fine Arts, San Francisco, the Presidio, and the Mexican Heritage Plaza, San Jose. Collaborations with leading local dance artists practicing dance forms such as Flamenco, Hula, and Chinese dance forms gave me the joy of exploring the universal language of music and dance we shared. My students performed at the Herbst Theater in San Francisco and the Sunnyvale Center for Performing Arts, to name a few.
Motherhood break and the Inspiration back
Like many women, early motherhood was a time to dedicate my entire being to the singular experience of bringing a child into this world and raising him during his early years. So singular that I took a hiatus from both performances and teaching. But once an artist, you are always an artist! I would create “tihayees” (rhythmic compositions) inspired by everyday experiences and share them with Maharaj ji to seek his critique. The gratification of these creations continued to fuel my intellectual journey as an artist.
During the pandemic’s early days, as our routines changed, I found more time to practice my dance. Also, with public performances shut down all over the world, Maharaj ji had more time. He started teaching me 1:1 virtually 3 or 4 days every week, just like the days at Kalashram. My happiness knew no bounds! These classes became extended jam sessions as eminent tabla maestro, Vishal Nagar, started joining Maharaj ji’s classes with me. On the weekends, those learning sessions extended into “riyaaz” (immersive practice) that would last countless hours, just like those days in Kathak Kendra and Kalashram. More than anything else, the joy I felt during these sessions announced that I had to return to performing, teaching, and living Kathak!
Inspirational blessings from Maharaj ji
“My heart filled up with joy…old memories came gushing back. Your dance is just as beautiful as it was earlier, just like you learned. Recitations were just as flawless…and every moment was so beautiful. May god keep you well. Practice regularly”
– Pt Birju Maharaj, reacting to a recent performance by Parna
Testimonials
Few words from other Kathak icons and artists.