Kadamb&’s Golden Jubilee celebrations had Kathak wizard Birju Maharaj, living legend of the Lucknow gharana, taking the stage on the final day of the festival amidst thunderous applause. A much-awaited event going by what he’d said the previous day about how abhinaya ought to be taught, he professed that only life&’s teaching and experience can help one imbibe the art. He said he himself keenly observed the expressions of different people&’s feelings of joy in different situations, one example being a wedding ceremony where he’d watched the joyful expressions of the parents of the bride and the groom as well as other people.

He forgot his surroundings and everything else when he commenced on a abhinaya piece about “pita vasana Shyam”-Krishna clad in yellow robes — as was evident from the faraway look in his lotus petal-shaped eyes. Immersed in true devotion, he had the audience immersed in the same emotion. Using a few repetitive lines, he showed what “teen taal” was all about. Totally engrossed in dance, he forgot his age and rendered one technique after another, inclusive of the intricate taala pattern, creating unmixed joy and aesthetic bliss.

Kumudini Lakhia has not only choregraphed pieces of timeless value, she also presented her students’ choreographic works at the function. A sensitive choreographer, Aditi Mangaldas questioned the purpose of life; what lay beyond what the mind could perceive in her work, Uncharted Seas. She used poetry to portray emotions that are finite, besides light, space and time to describe the intangible. Aditi&’s Drishtikon ensemble of seven danced with perfect coordination. They filled the stage, dancing with both linear and circular movements in perfect unison. A brief solo piece by Aditi herself, rendered in between and together, was aesthetically pleasing. Her internal search for the infinite, which is synonymous with her beloved, was compared poetically. In tatkar. as in the other finer nuances of Kathak, she was unparalleled.

The sound of a single bell from her anklets during tatkar was admirable. Time was used to describe the intangible and Aditi bowed her head to her mentors, Kumudini Lakhia and Birju Maharaj, and her parents, who have extended their support in her search.

One of Lakhia&’s most promising disciples showcased Half Circle with her fellow dancers Prashant, Rupansi, Mitali, Fiana, Nyasa, Salomi and Kalrav, portraying her journey to build bridges and create links through her encounters with different styles of dance, which included Kathak, which has become a part and parcel of her being, hip hop, flamenco and contemporary styles.

The screen opened with the stage in a kind of semi-darkness, with Vaishali singing in a strain reminiscent of her journey in Kathak. The entry and exit of dancers in brisk style signified travel. This was followed by a joyful breaking into dance in solos, duets and group. It was a visual pleasure. For her creative work.

All that&’s in between was an abstract piece of creative work choreographed by Parul Shah  to the prose of Reena Shah. The subject matter was like modern poetry and open to interpretation. Cello was by Isabella, Budhakar played the tabla and Lana Cencic played the piano. Speaking about choreographing abstract pieces, Urja Desai Thakore&’s Within was a duet presentation by Urja Desai Thakore and Parbati Chaudhry, with music provided by Aalap Desai. It explored the inner conflict inherent in humans. About the style of Kathak used, Urja has indeed taken the cart forward. Just as she remained true to the Kathak genre, it did not prevent her from seamlessly weaving in a new vocabulary created by her.

Coming to Antar Vaaay, choreographed jointly by veteran Kathak couple Ishira Parikh and Maulik Shah of Aanart Dance Company, it explored the cyclic occurances created in space through dance. The core, has been perceived to reside in virtual space. This, along with the actual space where its manifestation is celebrated, was the content of the piece. The choreographers have recognised the coexistence of the beat, the form, shape and emotions blossoming into great beauty and hence joy. Antar Valay attempted to show the manifestation of the core that lies within. Dancers Jigna, Namrata, Raina, Anjani, Naisargi, Kadam and Khalil did justice to the perdormance. Perhaps a little more use of the whole proscenium stage would have made the designs look uncluttered. The music by Niraj Parikh was excellent.

The subject matter of Unnayan was very topical. It tried to interpret the challenges faced by a woman when trying to overcome the negative states of the mind and finding solace in the energy caused by dance. Veteran choreographer Sandhya Desai visualised the piece rendered in dance by Salomi, Anar and Manuela. The music was provided by the unparalleled Atul Desai.

Anuvi Desai is a creative planner of dance costumes. Most of the choreographers had taken her help in making their dancers look their best on stage. She gave them costumes appropriate with what they were performing, not forgetting to make them look captivating. Master of Ceremonies Shaan Hatangadi elevated the expectations of the crowd at every moment.