Opening Hours

Mon - Fri: 7AM - 7PM

Kathak by Kinga Malec

Artist’s Byte :
“My experience learning and performing this choreography was truly an amazing experience and also very challenging. Mainly because the item is choreographed in a way of constant change of the portrayed character – from sad and concerned Shri Radha to joyful and playful sakhi. There was also a part to show Shri Krishna, so even more playful and mischievous. Being a dancer for me the most difficult aspect is to pull out different emotions and yet contrast emotions in a way that’s clear and understandable for me as well as communiative to an audience. I absolutely loved the poetry and the little subtle details describing how the nature is enjoying this season (creepers hugging the trees) in a verse – ‘sphuradati mukta lata parirambhana mukulita pulakita cute’ and also the spiritual aspect while dancing to verse: ‘shri jayadeva bhanitamitamidam udayati hari carana smrti saram’. The versatile aspect of this item was very interesting to dance to. I was also amazed how the music was composed and beautifully played by all musicians. I would be delighted to dance to other parts of this Ashtapadhi performed in Kathak.”…Kinga Malec (Kathak Exponent from Poland)
  • vasantevasanti-kusuma-sukumarairavayavair bhramantikantare bahu-vihita-krishnanusaraam | amandakandarpa-jvara-janita-cintakulataya valad-baharadhasarasamidamucesaha-cari Once, in the splendid spring season, when Radhika was pining for Krishna, she began to search for him in one forest grove after another. Her elegant, young limbs, soft as mddhavt flowers, grew weary and Cupid made her mind delirious with anxiety. At that time, her intimate friend lovingly addressed her as follows.
  • lalita-lavaga-lata-parisilana-komala-malaya-samire | madhukara-nikara-karambita-kokila-kujita-kuñja-kuire ||1|| The Malaya breeze is so enchanting as he arrives and impetuously embraces the tender, charming creepers again and again. The forest bower is permeated with the sweet kuhu sound of the cuckoos and the drone of bees as they bumble to and fro.
  • viharatiharirihasarasa-vasante nrityatiyuvati-janenasamamsakhi, virahi-janasyaduranteRadhe (viharatihaririha) ||dhruvapada|| Moreover, Hari is also dancing in this forest bower with his Gopis when the spring is in full bloom & while being immersed in a festival of love
  • sphuradati -mukta-lata-parirambhana, mukulita-pulakita-chute | vrundavana-vipineparisara-parigata-yamuna-jala-pute, Radhe viharatihaririha ||7|| The mango trees in the forest groves of Vrindavana are covered with freshly sprouted buds because they are thrilled by the embrace of the restless madhavi creepers. Sri Hari is affectionately playing with Gopis in the pure water of the Yamuna that flows alongside those forest groves.
  • sri-jayadeva-bhanitamidamudayati, hari-caraa-smruti-saram | sarasa-vasanta-samaya-vana-varanam, anugata-madana-vikaram, Radhe viharatiharirihasarasa.. ||8|| This auspicious, rasa-laden song has perfectly manifested through Sri Jayadeva. The portrayal of the forest in springtime is suffused with the erotic aberrations of Radha when she is overwhelmed with anxiety in separation from Krishna. Woven together with transformations of passion, the spring season awakens remembrance of the lotus feet of Sri Hari.