Kathak is the only Indian classical dance form in which, with the background accompaniment of Hindustani music, a Taal (rhythmic cycle of beats) is performed on stage and showcased through compositions of Thaat, Aamad, Tode, Paran and Tatkaar. This, along many other Tabla and Pakhawaj based compositions, forms the technical aspect of Kathak, ‘Nritta’.

With crisp postures, linear movements, swift pirouettes, mellifluous hand gestures and intricate footwork, Pt. Maneesha Sathe spells magic with popular Taals like ‘Tritaal’ (16 beats), as well as uncommon ones such as ‘Ganesh’ (21 Beats). Pandita’s typical performance starts with Thaat, a traditional element of Kathak, showcasing the picturesque poses, each of which seems like a beautiful painting or a sculpture in itself. Throughout the performance, Maneesha Tai makes sure that the audiences are enthralled by performing a variety of compositions, some traditionally learnt from her Guru and some intricately self-conceptualized. At the end of each Taal performance, Pandita performs a composition, encompassing a number of chakris, or turns, this being a tradition of her Guru, Pt. Gopi Krinshnaji.

Her immense control and knowledge of Taal and Lay, her spellbinding way of using the stage, her beautiful stage presence, and the way in which she connects with the audience are a few of the many enchanting elements of Pt. Maneesha Sathe’s performances.

Here, the audience only begins to realize the tremendousness of this Maestro, they are overcome with reverence. Maneesha Sathe’s Taal performance not only enlightens the audiences with this beautiful aspect of Kathak, but also engages them such that they never fail to applaud.

Take a look at Maneesha Sathe’s views on Kathak.