Constant restlessness and the urge for innovation often show up a different dimension of the traditional structure. Learning a classical dance style with a liberal perspective is thus necessary. It is the responsibility of teachers to see that young minds are able to visualize and create new idioms in the dance form and style they are trained in. Padatik Dance Centre, under the tutelage of Chetna Jalan, has done this successfully, grooming and nurturing talented young Kathak dancers. It is indeed inspiring to see that its efforts have been able to sustain youngsters’ interest in classical dance in this jet-set age.

Mitul Ghosh Sengupta (picture) is one such young dancer and choreographer who presented her recital at Padatik’s Buildwell Theatre on July 21. The evening started off, quite impressively, with “Sham-e-mehfil”, which showed the exotic brilliance of old-style Kathak. Even in the tiny space of Padatik and the minimal set, with pillars and a door frame, the dancer created different moods of the mehfil so convincingly that one thought one could smell ittar. Traditionally dressed, in a beige and red costume with ghunghat and jhapta, Mitul created the aura of the classic Mughal mehfil with her dance to “Rumjhum badarwa barase”. Using crisp footwork and chakkar, she deftly portrayed the lyrical mood of the monsoon, which gradually blossomed into varied shades of love — ranging from the joy of togetherness to the pain of separation. The filigree through light and shade created the appropriate ambience. The music composed by Vijay Shankar deserves special mention.

“Kathak Yatra”, a solo presentation by Anasua Chowdhury, a very young dancer, was enjoyable as well. She proved her taiyaari in paran, lari and tihai with much confidence. It was followed by a piece, “When I sing for you”, which was based on Kathak but also included Western contemporary techniques. It portrayed a lonely, grieving heart, who lived by cherishing past memories of companionship.

In this dismal presentation, Mitul did not always seem be able to emotionally identify with the character. She looked forced and false. Perhaps the inept handling of the interceding dialogue, the pronunciation and voice modulation were to blame. The presentation lacked a chiselled finish. The programme ended with “Alvida”, an experimental choreography which tried to blend the classic and commercial medium. The group choreography with the song, “Chupke se kahin, dheeme paanv se”, (from the film, Life in a Metro) was a good attempt. Conservatives would get a shock, but given the capacity of classical dance to assimilate and mutate, one wonders why such efforts should not be encouraged. So long as the presentation is aesthetic and based on solid technique, experimental compositions are always welcome.