Written by: Nayha Jehangir Khan
Posted on: July 22, 2019 | 
Khanzada Asfandyar Khattak (picture credits to RUNG on Facebook)
The Rung School of Music and Arts (RSMA) hosted an evening dedicated to the classical art forms of Bharatanatyam, Khattak, Logari and Sufi dance on 20th July in Islamabad. There were performances by three dancers, Iftikhar Masih, Khanzada Asfandyar Khattak and Saima Saleem. The event was co-hosted by dance legend Indu Mitha, who had also trained two of the performers.
At 89 years old, Mitha has laid the ground for generations to learn, explore and identify with dance as an artistic expression. Her life-long commitment to teaching dance has been a beacon of hope and a source of cultural fulfillment for countless female and male students.
Indu Mitha (picture credits to RUNG on Facebook)
Asfandyar began the evening with a piece called 'Salaamee', performed to Chanchal Taal and four-beat Pashto Taal. His dance is a fusion of Khattak, Afghan Logari and Sufi Raqs. Asfandyar’s delicate hands gestures, and swift swaying highlighted the deep tones of the tablas and gentle strings of the Rubab.
Similar to a first light on the mountain peak, he steadily set the pace of his movement, until his entire body was a whirling motif. We see the seamless transitions from hand gestures, to a free flowing joyful glide in a circular whirling formation. He invites the audience to join him through his welcoming gestures and engaging eye contact, while the audience cheer and clap in turn.
If his white attire represented the day, his next performance had him dressed in black to signal night time. During his second performance, titled Saaz-e-Logar, the audience felt Asfandyar’s conviction and passion. It was as though they were transported to a warm, starry night at the foothills of the rugged Afghan topography.
Next was the BharataNatyam. This tradition has been difficult to establish in Pakistan, as it is considered to have pagan origins. But people are unaware that this form of dance dates back 2000 years. “…the first syllable ‘Bha’ stands for Bhava [emotion], the second syllable ‘ra’ stands for Rasa [music], and the third syllable ‘ta’ stands for Tala [rythm], the three constituting the basic essentials of Bharatanatyam” (Meghala Bhat).
Iftikhar Masih (picture credits to RUNG on Facebook)
Masih presents an alternative interpretation of the dance called ‘Alarippu', which he renamed 'Ibtida'. His dance does not call on a deity, but the spirit of dance itself. As soon as Masih begins his performance we are immediately aware of his focused, disciplined and perfectly measured movements. The choreography is synchronized with the "Manjeera" (clash cymbals), which signal the changing of a pose. The Bol (vocalization of musical notes to the table) serve as Masih’s guide and companion. The movement of his eyes, hands and feet are subtle. We feel the space closing and opening with his movements, as he contains and releases energy.
The audience (picture credits to RUNG on Facebook)
His second performance was theatrical, as he enacted a story of a man returning home from work. He danced an inner monologue of introspection, self-discovery and contemplation in a journey of self-actualization. Though he kept Bharatanatyam as his medium, he localized the narrative by keeping his attire casual and using a backpack as a prop.
Finally, Saima Saleem, a trained Kathak dancer, sets her performances against the Teental beat of the tabla. Her first performance is a self-choreographed Raag Darbaaree, which often contains prolonged notes and resonating vocals. She outlines the air with her arms, steering her body in unpredictable directional movements to captivate her audience. The room is thick with the sound of her ghungrus, perfectly synchronized with the speed of the raag.
Saima Saleem - beside para 2 (picture credits to RUNG on Facebook)
Her entire being is entranced into a vibration while she steadily holds her gaze. Her feet and the Taal are one. Saleem chose the Raag Kalavatee as her second performance. Her intensity was ecstatic, flowing in every direction of the room. Her eyes were expressive, and she held a gentle smile. She commanded the floor with her ghungrus as she fell in synch with the music. The audience watched Saleem as her performance moved into a trance-like state.
It has been a privilege and a learning experience being able to witness these performances. For those who have not visited RSMA, make sure you catch their next event.
You may also like:
