In our ancient and traditional beliefs, freedom of self expression through discipline is path of spirituality. Our traditional and classical forms of art have always taken us to an elevated level of spirituality and this connection infuses our souls with immense fulfillment. Indias well known North Indian classical dance form kathak is among the anthology of varied established cultural art forms. Birju Maharaj Parampara endeavours to bestow the true meaning and discipline of Kathak to its students and carry on the legacy forward.
Birju Maharaj Parampara is a registered society founded in 2003, by Pandit Jai Kishan Maharaj (elder son of the legendary Kathak maestro, Padma Vibhushan Pandit Birju Maharaj), and his wife, Smt. Ruby Mishra. It has been founded with the objective of imparting Kathak training in its purest form. The parampara follows the traditions of the Lucknow Gharana. The parampara nurtures its disciples in the true Guru Shishya Parampara. The institute is affiliated to Pracheen Kala Kendra, Chandigarh.
The following highly distinguished artistes have a kind support to serve as Birju Maharaj Parampara's Patrons: Smt. Girja Devi, Pt. Rajan Mishra, Pt. Sajan Mishra, Pt. Kumar Bose, Sh. Ismail Darbar, Pt. Debu Choudhury.
Kalka- Bindadin Gharana: The Lucknow Gharana of Kathak came into existence in the beginning of the 19th century. Prakashji came to the court of Nawab Asaf-ul-Daula and was employed in the court. Later Thakur Prasadji was also employed in the court of Nawab Wajid Ali Shah. Kalka Prasad and Bindadin Maharaj were also employed in the court of Nawab Wajid Ali Shah. Wajid Ali Shah himself was a great poet, composer and connoisseur of music and dance..
It is said that Maharaj Kalka Bindadin was the architect of the present form of Lucknow Gharana , which is widely also known as Kalka-Bindadin Gharana. The Kalka Bindadin family provided the form with strength and generations thereafter nurtured their unique style, with the contribution of the Maharaj brothers (Achchan, Shambhu and Lachhu Maharaj) being paramount. The Muslim patrons had no patience with mere technical virtuosity. They wanted to see an art which mirrored life in all its moods. So, the Lucknow Gharana of Kathak came to be characterised as a dance which was graceful, decorative, suggestive, expressive and sensuous.
Bhava became the forte of the Kalka-Bindadin Gharana. In this way their dance became capable of expressing the subtlest nuances of emotion.
