Mahima Gulechha’s journey in Kathak began under the guidance of Jigyasa Giri at Devaniya School of Kathak, where her foundation in the art form was built. In 2018, she began learning from Durga Arya and toured across India with her for two years. Since 2022, she has been mentored by Gauri Diwakar, whose guidance inspired her first production, Rooh – Seeking the Divine. She tells us, “My gurus, along with my parents’ financial and emotional support, have been instrumental in shaping me.”
We speak to the prominent Kathak dancer from Chennai, who is all set to perform Kaal-Taal as a part of the ongoing Rasa: The Margazhi Edit.
Excerpts:
What is Kaal-Taal about?
Kaal-Taal consists of four choreographies that tell timeless stories, two of which are rooted in the taals of Hindustani classical music. These pieces, though written centuries ago, remain deeply relevant today. This timelessness gives me purpose as I perform them, and I hope to share that with the audience.
Why is it titled Kaal-Taal and how was it conceived?
When Akhila Krishnamurthy, (founder, Aalaap) asked me to put together a 45-minute show, I revisited my repertoire — pieces I’ve learned from various gurus and dancers. Each one evokes different emotions and stories from India’s rich and diverse culture. Since the series is called Rasa: The Margazhi Edit, I chose works that reflect the diversity of Kathak, a dance form uniquely influenced by both Hindu and Muslim traditions. Akhila, being better with words than I am, suggested the title Kaal-Taal, which perfectly captures its essence.
The final piece draws from my spiritual journey. Observing rituals, I’ve often grappled with contradictions in human behaviour. To me, spirituality transcends rituals — it is about embodying love, kindness, and compassion in all aspects of life.— Mahima Gulechha
Please elaborate on the choreography, music and any other specific elements you have used in the story-telling.
The pieces in Kaal-Taal include:
Guruave Namah, choreographed by Aditi Mangaldas with music by Samiullah Khan, explores the guru’s form through the five elements, ultimately leading to the realisation of Mahadeva.
Panghat, choreographed by Durga Arya with music by Pandit Birju Maharaj, depicts Vrindavan, where Krishna mischievously teases the gopis as they gather at the river.
The third piece, choreographed by Arushi Mudgal with music by Pandit Birju Maharaj and vocals by Sawani Mudgal, portrays Kaushalya’s heartbreak as Rama bids her farewell before his exile.
The final piece, my own choreography, weaves together a Tarana and Faiz Ahmed Faiz’s poem Due, expressing the essence of spirituality through love, kindness, and compassion.
What is the relevance of Kaal-Taal in today’s time?
These pieces hold personal significance for me:
Guruave Namah reflects my ongoing quest to understand the guru—whether it is a person, nature, or life itself.
Panghat offers me an escape from this hustle of city life and unending task list and WhatsApp messages to reply to. People often go on retreats and detoxes. This piece is exactly that to me, to escape to world, even though for just a little bit where vibrant women in colourful lehengas, their beauty untouched by stress, laughing as they gather at the well to fill their clay pots with water. Here, life breathes simplicity — no jealousy, no dominance, only love, kindness, and the unhurried charm of a small town life.
The third piece resonates with my family’s journey as my sisters and I move out of our maternal home, a bittersweet transition that mirrors Kaushalya’s pain.
The final piece draws from my spiritual journey. Observing rituals, I’ve often grappled with contradictions in human behaviour. To me, spirituality transcends rituals — it is about embodying love, kindness, and compassion in all aspects of life.
What does Margazhi mean to you?
To enrich my journey, I’ve attended workshops like Navarasa Sadhana. Additionally, attending performances and the Natya Kala conference during Margazhi has been a source of inspiration and renewed energy. This magical season is something I look forward to every year.
By registration only.
December 14, 7.15 pm.
At Kanakavalli, Chetpet.
Email: rupam@newindianexpress.com
X: @rupsjain