A trailblazer Brijmohan Nath Mishra simply known as ‘Birju Maharaj’ (Indian Dancer) was renowned everywhere for his well-finished, heart-touching art form of Indian classical dance ‘Kathak’. He was born on 4th February 1937 into a Hindu Brahmin family at Handia of Allahabad district. A few days ago, on 17th January 2022, he took his breath last in Delhi at the age of 84.
The pioneer son of the Court Dancer!
Pandit Birju Maharaj (Indian Dancer) is the son of Acchan Maharaj, the court dancer in Raigarh’s princely state. Pt. Maharaj commenced dancing prematurely at the age of four. He was instructed by his uncles Lachhu Maharaj and Shambhu Maharaj as well as by his father. He initiated his renditions first at his father’s shows before executing solo at the age of seven in West Bengal. His father perished when Pt. Maharaj was nine only.
The Activation Mode of Life Became On!
At the Sangeet Bharati in New Delhi, he began training Kathak at the delicate age of 13. Eventually, he moved to the Bharatiya Kala Kendra in Delhi. After a few years, he started orienting at the Kala Kendra (which is a unit of the Sangeet Natak Akademi), being the Head of Faculty and Director.
Birju Maharaj’s first significant solo concert was at Manmath Nath Ghosh celebrations in Bengal in the presence of stalwarts of melody. He acquired commendation as a young dancer with an incredible prospect. He never looked back after that, his profession chart advancing steadily. His solo dances evolved an essential element of any harmonious summit of repute and no musical summit was concluded without an interpretation by Pt. Birju Maharaj.
In 1998, he retired from the Kathak Kendra and moved to open his dance school, “Kalashram”. As a dance teacher, he acknowledged continuously discovering new specialties. An organization in himself, he presented the Lucknow Gharana, the much-needed stimulation to hold it pertinent among the young epoch. So much, that his reputation evolved interchangeably with Kathak for almost three decades across the world. For him, classical dance was one of the routes to correlate with divinity. Hence, it is named ‘Sadhana’.
Known for his flawless beat, Pandit Birju Maharaj’s abhinaya, or motion language were devised that mixes components belonging to both his uncles as well as his father. He is debated to have inherited the exactness of footwork and the play of the face and neck from his father, and the stylized fluidity of gesture from his uncles.
Additionally, Maharajji was also a competent choreographer to popularize dance dramas. Further, as an accomplished musician, his deliveries of thumris and dadras (structures of classical vocal music) were relished by many. He was also playing the naal, the tabla, and the violin. He is also a singer par superiority, having control over Thumri, Dadra, Bhajan, and Ghazl.
He sings from the soul, phrases hovering out effortlessly. His in-depth resonating voice conveys the sentiment and emotion behind every phrase.
The Bolly Journey, Awards, Honours, and Accomplishments.
Maharajji has penned the tune and sang for two classical dance series for Saswati Sen in the movie Shatranj Ke Khilari (1977- The Chess Players) directed by Satyajit Ray, for Madhuri Dixit in Dil To Pagal Hai (1997) & Devdas (2002), for Kamal Hassan in Vishwaroopam (2012), for Deepika Padukone in Bajirao Mastani (2015) and Alia Bhatt in Kalank (2019). He was commemorated with the National Film Award for Best Choreography in 2012 in consideration of the film Viswaroopam and a Filmfare Award for Best Choreography in 2016 connecting to Bajirao Mastani. Maharajji was also a recipient of the country’s second-highest civilian award, Padma Vibhushan. He also has Honorary Doctorate degrees from Banares Hindu University and Khairagarh University.
Glimpsing upon the Personal Life!
Birju Maharaj (Indian Dancer) was wedded and had five children. In his last life, Maharaj held kidney illness and diabetes and acquired dialysis. He passed away from a heart attack at his residency in Delhi, on 17 January 2022, at the age of 84.
The Versatile Message
“I am not comfy with every melody. For me, dance is like communing with the omnipotent. I cannot choreograph something, which is raunchy and mandates loads of skin show… I favour to remain out of it.” – This was the protean opinion of a compassionate Guru who didn’t strive to just make stars but served to drive Kathak a source of livelihood for hundreds of practitioners!
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