Aadyantara
Govindam
Govindam is Krishna, of all the mystical gods; the multidimensionality of Govinda’s character has opened the doors of imaginations of one and many to their own interpretations. Govindam-the kathak recital, encompassed the facets of Krishna as depicted in Jayadev’s famous composition Dasavatara from Geetagovindam. The recital commenced with Dasavatara, a stuti to the Almighty in all His forms and facets. This composition was based in shankara raag.
The recital featured the thumri ‘Kanha bin sooni lage nagariya, a traditional composition based in bageshwari raag, which aptly describes the emptiness of the world, outside and inside, in the absence of Krishna. This was followed by ‘Aaiso hathilo chail mag rokat hai’, a composition based in desh raag. This composition described the sudden arrival of Krishna and the dilemma of the gopika who is secretly enthralled yet shows her annoyance at His pranks and playfulness.
The performance concluded with tarana based in poorna dhanashri and vasant raag. The audience witnessed the traditional kathak dance, amalgamating with the artist’s own portrayal and conceptions which together gave a unique embodiment to the recital.
Govindam is Krishna, of all the mystical gods; the multidimensionality of Govinda’s character has opened the doors of imaginations of one and many to their own interpretations. Govindam-the kathak recital, encompassed the facets of Krishna as depicted in Jayadev’s famous composition Dasavatara from Geetagovindam. The recital commenced with Dasavatara, a stuti to the Almighty in all His forms and facets. This composition was based in shankara raag.
The recital featured the thumri ‘Kanha bin sooni lage nagariya, a traditional composition based in bageshwari raag, which aptly describes the emptiness of the world, outside and inside, in the absence of Krishna. This was followed by ‘Aaiso hathilo chail mag rokat hai’, a composition based in desh raag. This composition described the sudden arrival of Krishna and the dilemma of the gopika who is secretly enthralled yet shows her annoyance at His pranks and playfulness.
The performance concluded with tarana based in poorna dhanashri and vasant raag. The audience witnessed the traditional kathak dance, amalgamating with the artist’s own portrayal and conceptions which together gave a unique embodiment to the recital.
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