In the next instalment in our series on tabla accompaniment to Hindustani music and dance, we look at the role of the tabla player while accompanying repertoire in kathak performances that highlights the abhinaya or expressive aspect. Here, the poetic element of the thumri, dadra or the ghazal compositions have to be expressed through dance.
This can be done either by the dancer performing the dual role of dancer and singer, but this depends on the training that he or she has undergone. Often, a vocalist who is part of the musical ensemble renders the thumri while the dancer renders it through abhinaya either in seated position or moving across the performance space.
The tabla player accompanies this section in the same manner as would be done in the case of a vocal rendition of these forms, though some dramatic moments may be heightened by a change in volume or embellishment.
Here are two recordings that showcase the dancer in seated position as he expresses the emotions contained in the song-text through facial expression and gesture. In both cases, listeners will note that the tabla player plays in the same manner as would be done in the case of a conventional vocal rendition of thumri and dadra without the dance element.
However, in both illustrations, there is no laggi section, although this may be included during performance as per the dancer’s choice.
In the first case, the maestro Birju Maharaj sings a thumri set to the 16-matra Sitarkhani or Addha taal.
The next recording features renowned dancer Shambhu Maharaj, who evokes myriad emotions as he used expression and gesture in this dadra composition set to the six-matra Dadra.
One of India’s leading tabla players, Aneesh Pradhan is a widely recognised performer, teacher, composer and scholar of Hindustani music. Visit his website here.
This article is based on Pradhan’s book Tabla: A Performer’s Perspective.
