By Kedar Mishra
It was youthful and rocking, a delight for new generation audience. Pankaj and Paras Nath, two young flutists from Mumbai rocks the fourth evening of Guru Kelucharan Mohapatra Award Festival fusing Indian Raagas with western and Arabic symphony. It was fast paced, full of joyful rhythm and vibrating effects. One can feel like swinging or dancing with them. With all this synthesisation and useful fusion, a pertinent question comes up. Is it true the our new generation do not like sweetness of tranquility? Do they fail to enjoy the serenity of an Aalap? Why do our musicians believe that everything has to be in Drut Laya? Don’t they enjoy Pt. Hariprasad Chaurasia? I have seen many young people very keenly observing and enjoying the pure flowing of a Raaga from Aalap, Madhya laya to Drut.
Frankly speaking Pankaj and Parash are brilliant musicians, but they are in a hurry. They are creative and highly innovative. To make proper use of their talent they need to go for at least one full Raaga. Five Raagas in one hour, makes no sense. Desh,Hamsadhwani, Kirwani, Bhairavi, Arabic, Sufiana, jaaz..all in one go creates no good fusion. As flutist they use their skill and taalim very little. Ot was Key board and drum which was dominating more.Atul Natinga in Key Board was mesmerizing. So also Darshan Doshi in western drum. Classical sublimity of Indian flute and Tabla was not on lead. Despite all this its highly entertaining and hook the hearts.
In the dance segment US based senior Kathak dancer Chitresh Dash was oddly unique. I did not like so many things about him as a dancer, which is not important. His hurried and worried looks, the way he positioned himself on stage which looks very unaesthetic, his movement is unusual and his Chakkars are never complete and so on. Despite all these I can say he is an extraordinary dancer. He danced like a child and what a beauty it is to see a child dancing. It was something strongly passionate in his inner heart, a terrific madness, a Sufi like Dewangee. His foot works, My god! Its like the sound of Tabla itself. Amazing grasp in Layakari. He can run a steam engine from one platform to other by taping his feet.( It sounds like gimmick, but using various jatis-tisra,khanda,misra etc he can create that very modern effect on stage). Finally his Shiva nritya and Krishna nritya, he danced like a maverick devotee. Its unusual but unique.